rec.martial-arts FAQ part 2 of 4 (LONG)

[Matthew Weigel]

Archive-name: martial-arts/faq/part2
Last-modified: 02 February 2004

Posting-Frequency: twice per month


rec.martial-arts FAQ - Part 2 of 4
==================================

======================================================================

Part 2 of 4

16) What are the different Arts, Schools, Styles?

16.1) Aikido 16.2) Baguazhang 16.3) Brazilian JiuJitsu
16.4) Bushidokan 16.5) Capoeira 16.6) Cha Yon Ryu
16.7) Cuong Nhu 16.8) Daito Ryu Aiki-Jujustu
16.9) Gatka 16.10) Hapkido 16.11) Hwa Rang Do
16.12) Iaido 16.13) Judo 16.14) Jujutsu
16.15) Kajukenbo 16.16) Kali/Escrima/Arnis
16.17) Karate 16.18) Kendo 16.19) Kenjutsu
16.20) Kenpo (Amer.) 16.21) Kempo (Kosho Ryu)
16.22) Kempo (Ryukyu) 16.23) Kobudo 16.24) Krav Maga
16.25) Kyudo

Part 3 of 4:

16.26) Lua 16.27) MMA/NHB 16.28) Moo Do
16.29) Muay Thai 16.30) Ninjutsu 16.31) Praying Mantis
16.32) ROSS 16.33) SAMBO 16.34) Sanshou
16.35) Savate 16.36) Shogerijutsu 16.37) Shuaijiao
16.38) Silat 16.39) Tae Kwon Do 16.40) Taijiquan
16.41) Western MA 16.42) Wing Chun 16.43) Wushu/Gongfu
16.44) Xingyiquan 16.45) Yoseikan Budo

===================================================================


16) What are the different Arts, Schools and Styles?

This is a question with many, many answers---some could say that there
are as many styles as there are martial artists. So, we'd like to
introduce some Schools and Styles that will give you a basic
familiarity with the world of martial arts. The Arts are listed
alphabetically.

Important note: This information is true to the best of the knowledge
of those who wrote the descriptions of the various arts. If your
style has only a small write up or none at all and you have enough
information on it to make a good FAQ entry, write it up in the form
shown below and send it to ***@cs.cmu.edu.

If you have a question about a particular style or its writeup, one
option is to look in the next section for who contributed to the art's
writeup, and send e-mail to them. Otherwise, comment to
***@cs.cmu.edu.


16.1) Aikido

(contributors: Eric Sotnak - ***@troi.cc.rochester.edu,
Alex Jackl - ***@avs.com)

Intro:

Aikido emphasizes evasion and circular/spiral redirection of an
attacker's aggressive force into throws, pins, and immobilizations as
a primary strategy rather than punches and kicks.

Origin: Japan.

History:

Aikido was founded in 1942 by Morihei Ueshiba (1883-1969). Prior to
this time, Ueshiba called his art "aikibudo" or "aikinomichi". In
developing aikido, Ueshiba was heavily influenced by Daito Ryu
Aikijujitsu, several styles of Japanese fencing (kenjutsu),
spearfighting (yarijutsu), and by the so- called "new religion":
omotokyo. Largely because of his deep interest in omotokyo, Ueshiba
came to see his aikido as rooted less in techniques for achieving
physical domination over others than in attempting to cultivate a
"spirit of loving protection for all things." The extent to which
Ueshiba's religious and philosophical convictions influenced the
direction of technical developments and changes within the corpus of
aikido techniques is not known, but many aikido practitioners believe
that perfect mastery of aikido would allow one to defend against an
attacker without causing serious or permanent injury.

Descriptions:

The primary strategic foundations of aikido are:
(1) moving into a position off the line of attack;
(2) seizing control of the attacker's balance by means of
leverage and timing;
(3) applying a throw, pin, or other sort of immobilization
(such as a wrist/arm lock).

Strikes are not altogether absent from the strategic arsenal of the
aikidoist, but their use is primarily (though not, perhaps,
exclusively) as a means of distraction -- a strike (called "atemi") is
delivered in order to provoke a reaction from the aggressor, thereby
creating a window of opportunity, facilitating the application of a
throw, pin, or other immobilization.

Many aikido schools train (in varying degrees) with weapons. The most
commonly used weapons in aikido are the jo (a staff between 4 or 5
feet in length), the bokken (a wooden sword), and the tanto (a knife,
usually made of wood, for safety). These weapons are used not only to
teach defenses against armed attacks, but also to illustrate
principles of aikido movement, distancing, and timing.

Training:

A competitive variant of aikido (Tomiki aikido) holds structured
competitions where opponents attempt to score points by stabbing with
a foam-rubber knife, or by executing aikido techniques in response to
attacks with the knife. Most variants of aikido, however, hold no
competitions, matches, or sparring. Instead, techniques are practiced
in cooperation with a partner who steadily increases the speed, power,
and variety of attacks in accordance with the abilities of the
participants. Participants take turns being attacker and defender,
usually performing pre-arranged attacks and defenses at the lower
levels, gradually working up to full-speed freestyle attacks and
defenses.

Sub-Styles:

There are several major variants of aikido. The root variant is the
"aikikai", founded by Morihei Ueshiba, and now headed by the founder's
grandson, Moriteru Ueshiba. Several organizations in the United States
are affiliated with the aikikai, including the United States Aikido
Federation, the Aikido Association of America, and Aikido Schools of
Ueshiba.

Other major variants include:

* the "ki society", founded by Koichi Tohei,
* yoshinkan aikido, founded by Gozo Shioda,
* the kokikai organization, headed by Shuji Maruyama,
* "Tomiki aikido" named after its founder, Kenji Tomiki.


16.2) Baguazhang (Pa Kua Chang)

(Contributors: William Breazeal - ***@tweedledee.ucsb.edu,
Mike Martelle - ***@qlink.queensu.ca)

Intro:

Baguazhang is one of the three orthodox "internal" styles of Chinese
martial art (the other two being Taijiquan and Xingyiquan).
Translated, Bagua means "Eight Trigram". This refers to the eight
basic principles described in the ancient metaphysical treatise the
Yijing (I-Ching), or "Book of Changes". Bagua is meant to be the
physical manifestation of these eight principles. "Zhang" means "palm"
and designates Baguazhang as a style of martial art which emphasizes
the use of the open hand over the closed fist. Baguazhang as a
martial art is based on the theory of continuously changing in
response to the situation at hand in order to overcome an opponent
with skill rather than brute force.

Origin: Northern China.

History:

Although there are several theories as to the origins of Baguazhang,
recent and exhaustive research by martial scholars in mainland China
concludes without reasonable doubt that the art is the creation of one
individual, Dong Haichuan (or Dong Haiquan). Dong was born in Wen'an
County, Hebei Province about 1813. Dong practiced local martial arts
(which reportedly relied heavily upon the use of openhand palm strikes)
from his youth and gained some notoriety as a skilled practitioner. At
about 40 years of age, Dong left home and travelled southward. At some
point during his travels Dong became a member of the Quanzhen
(Complete Truth) sect of Taoism. The Taoists of this sect practiced a
method of walking in a circle while reciting certain mantras. The
practice was designed to quiet the mind and focus the intent as a
prelude to enlightenment. Dong later combined the circle walking
mechanics with the boxing he had mastered in his youth to create a new
style based on mobility and the ability to apply techniques while in
constant motion.

Dong Haichuan (or Dong Haiquan) originally called his art "Zhuanzhang"
(Turning Palm). In his later years, Dong began to speak of the Art in
conjunction with the Eight Trigrams (Bagua) theory expoused in the
Book Of Changes (Yijing). When Dong began teaching his "Zhuanzhang"
in Beijing, the vast majority of his students were already
accomplished martial artists in their own right. Dong's teachings were
limited to a few "palm changes" executed while walking the circle and
his theory and techniques of combat. His students took Dong's forms
and theories and combined them with their original arts. The result is
that each of Dong's students ended up with quite different
interpretations of the Baguazhang art.

Most of the various styles of Baguazhang found today can be traced
back to one of several of Dong Haichuan's (or Dong Haiquan's) original
students. One of these students was a man called Yin Fu. Yin studied
with Dong longer than any other and was one of the most respected
fighters in the country in his time (he was the personal bodyguard to
the Dowager Empress, the highest prestige position of its kind in the
entire country). Yin Fu was a master of Luohanquan, a Northern Chinese
"external" style of boxing before his long apprenticeship with Dong.
Another top student of Dong was Cheng Tinghua, originally a
master of Shuaijiao (Chinese wrestling). Cheng taught a great number of
students in his lifetime and variations of his style are many. A third
student of Dong which created his own Baguazhang variant was Liang
Zhenpu. Liang was Dong's youngest student and was probably
influenced by other of Dong's older disciples. Although Baguazhang
is a relatively new form of martial art, it became famous throughout
China during its inventor's lifetime, mainly because of its
effectiveness in combat and the high prestige this afforded its
practitioners.

Description:

Baguazhang is an art based on evasive footwork and a kind of
"guerilla warfare" strategy applied to personal combat. A Bagua
fighter relies on strategy and skill rather than the direct use of
force against force or brute strength in overcoming an opponent. The
strategy employed is one of constant change in response to the
spontaneous and "live" quality of combat.

Bagua is a very circular art that relies almost entirely on open hand
techniques and full body movement to accomplish its goals. It is also
characterized by its use of spinning movement and extremely evasive
footwork. Many of the techniques in Bagua have analogs in other
Northern Chinese systems;however, Bagua's foot work and body
mechanics allow the practitioner to set up and execute these
techniques while rapidly and smoothly changing movement direction and
orientation. Bagua trains the student to be adaptable and evasive,
two qualities which dramatically decrease the amount of physical power
needed to successfully perform techniques.

The basis of the various styles of Baguazhang is the circle walk
practice. The practitioner "walks the circle" holding various postures
and executing "palm changes" (short patterns of movement or "forms"
which train the body mechanics and methods of generating momentum
which form the basis of the styles' fighting techniques). All styles
have a variation of the "Single Palm Change" which is the most basic
form and is the nucleus of the remaining palm changes found in the
Art. Besides the Single Palm Change, other forms include the "Double
Palm Change" and the "Eight Palm Changes" (also known variously as the
"Eight Mother Palms" or the "Old Eight Palms"). These forms make up
the foundation of the Art. Baguazhang movements have a
characteristic circular nature and there is a great deal of body
spinning, turning and rapid changes in direction. In addition to the
Single, Double and Eight Palm Changes, most but not all styles of
Baguazhang include some variation of the "Sixty-Four Palms." The
Sixty-Four Palms include forms which teach the mechanics and sequence
of the specific techniques included in the style. These forms take the
more general energies developed during the practice of the Palm
Changes and focus them into more exact patterns of movement which are
applied directly to a specific combat technique.

Training:

Training usually begins with basic movements designed to train the
fundamental body mechanics associated with the Art. Very often the
student will begin with practicing basic palm changes in place
(stationary practice), or by walking the circle while the upper body
holds various static postures (Xingzhuang). The purpose of these
exercises is to familiarize the beginning student with the feeling of
maintaining correct body alignment and mental focus while in motion.
The student will progress to learning the various palm changes and
related forms. The Sixty-Four Palms or other similar patterns are
usually learned after some level of proficiency has been attained with
the basic circle walk and palm changes. Some styles practice the
Sixty-Four Palms on the circle while other styles practice these forms
in a linear fashion. All of the forms in Baguazhang seek to use the
power of the whole body in every movement, as the power of the whole
will always be much greater than that of isolated parts. The
body-energy cultivated is flexible, resilient and "elastic" in nature.

In addition to the above, most styles of Baguazhang include various
two-person forms and drills as intermediate steps between solo forms
and the practice of combat techniques. Although the techniques of
Baguazhang are many and various, they all adhere to the above mentioned
principles of mobility and skill. Many styles of Baguazhang also
include a variety of weapons, ranging from the more "standard" types
(straight sword, broadsword, spear) to the "exotic." An interesting
difference with other styles of martial arts is that Baguazhang
weapons tend to be "oversized," that is they are much bigger than
standard weapons of the same type (the extra weight increases the
strength and stamina of the user).

SUBSTYLES:

Each of Dong Haichuan's (or Dong Haiquan's) students developed their
own "style" of Baguazhang based on their individual backgrounds and
previous martial training. Each style has its own specific forms and
echniques. All of the different styles adhere to the basic principles
of Baguazhang while retaining an individual "flavor" of their own. Most
of the styles in existence today can trace their roots to either The
Yin Fu, Zheng Dinghua, or Liang Zhenpu variations.

Yin Fu styles include a large number of percussive techniques and fast
striking combinations (Yin Fu was said to "fight like a tiger," moving
in swiftly and knocking his opponent to the ground like a tiger
pouncing on prey). The forms include many explosive movements and very
quick and evasive footwork. Variations of the Yin Fu style have been
passed down through his students and their students, including Men
Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian.

Zheng Dinghua styles of Baguazhang include palm changes which are
done in a smooth and flowing manner, with little display of overt
power (Zheng Dinghua's movement was likened to that of a dragon
soaring in the clouds). Popular variants of this style include the Gao
Yisheng system, Dragon style Baguazhang, "Swimming Body" Baguazhang,
the Nine Palace system, Jiang Rongqiao style (probably the
most common form practiced today) and the Sun Ludang style.

The Liang Zhenpu style was popularized by his student Li Ziming
(who was the president of the Beijing Baguazhang Association for
many years and who did much to spread his art worldwide).


16.3) Brazilian Jiu-Jitsu

(Contributor: Don Geddis - ***@bjj.org)

Intro:

Possibly the premier ground-fighting martial art. Made famous by Royce
Gracie in the early UFCs in the mid-1990's, it specializes in
submission grappling when both fighters are on the ground. Techniques
include positional control (especially the "guard" position), and
submissions such as chokes and arm locks.

Origin:

Brazil.

History:

In the mid-1800's in Japan, there were a large number of styles ("ryu")
of jiu-jitsu (sometimes spelled "jujitsu"). Techniques varied between
ryu, but generally included all manner of unarmed combat (strikes,
throws, locks, chokes, wrestling, etc.) and occasionally some weapons
training. One young but skilled master of a number of jiu-jitsu styles,
Jigoro Kano, founded his own ryu and created the martial art Judo (aka
Kano-ryu jiu-jitsu) in the 1880's. One of Kano's primary insights was
to include full-power practice against resisting, competent opponents,
rather than solely rely on the partner practice that was much more
common at the time.

One of Kano's students was Mitsuo Maeda, who was also known as Count
Koma ("Count of Combat"). Maeda emigrated to Brazil in 1914. He was
helped a great deal by the Brazilian politician Gasto Gracie, whose
father George Gracie had emigrated to Brazil himself from Scotland. In
gratitude for the assistance, Maeda taught jiu-jitsu to Gastao's son
Carlos Gracie. Carlos in turn taught his brothers Osvaldo, Gasto Jr.,
Jorge, and Helio.

In 1925, Carlos and his brothers opened their first jiu-jitsu academy,
and Gracie Jiu-Jitsu was born in Brazil.

At this point, the base of techniques in BJJ was similar to those in
Kano's Judo academy in Japan. As the years progressed, however, the
brothers (notably Carlos and Helio) and their students refined their
art via brutal no-rules fights, both in public challenges and on the
street. Particularly notable was their willingness to fight outside of
weight categories, permitting a skilled small fighter to attempt to
defeat a much larger opponent.

They began to concentrate more and more on submission ground fighting,
especially utilizing the guard position. This allowed a weaker man to
defend against a stronger one, bide his time, and eventually emerge
victorious.

In the 1970's, the undisputed jiu-jitsu champion in Brazil was Rolls
Gracie. He had taken the techniques of jiu-jitsu to a new level.
Although he was not a large man, his ability to apply leverage using
all of his limbs was unprecedented. At this time the techniques of the
open guard and its variants (spider guard, butterfly guard) became a
part of BJJ. Rolls also developed the first point system for jiu-jitsu
only competition. The competitions required wearing a gi, awarded
points (but not total victories) for throws and takedowns, and awarded
other points for achieving different ground positions (such as passing
an opponent's guard). After Rolls' death in a hang-gliding accident,
Rickson Gracie became the undisputed (and undefeated!) champion, a
legend throughout Brazil and much of the world. He has been the
exemplar of Brazilian Jiu-Jitsu technique for the last two decades,
since the early 1980's, in both jiu-jitsu competition and no-rules MMA
competition.

Jiu-jitsu techniques have continued to evolve as the art is constantly
tested in both arenas. For example, in the 1990's Roberto "Gordo"
Correa, a BJJ black belt, injured one of his knees, and to protect his
leg he spent a lot of practice time in the half-guard position. When he
returned to high-level jiu-jitsu competition, he had the best
half-guard technique in the world. A position that had been thought of
as a temporary stopping point, or perhaps a defensive-only position,
suddenly acquired a new complexity that rapidly spread throughout the
art.

In the early 1990's, Rorion Gracie moved from Brazil to Los Angeles. He
wished to show the world how well the Gracie art of jiu-jitsu worked.
In Brazil, no-rules Mixed Martial Art (MMA) contests (known as "vale
tudo") had been popular since Carlos Gracie first opened his academy in
1925, but in the world at large most martial arts competition was
internal to a single style, using the specialized rules of that style's
practice.

Rorion and Art Davie conceived of the Ultimate Fighting Championship.
This was a series of pay-per-view television events in the United
States that began in 1993. They pitted experts of different martial
arts styles against each other in an environment with very few rules,
in an attempt to see what techniques "really worked" when put under
pressure. Rorion also entered his brother Royce Gracie, an expert in
Brazilian Jiu-Jitsu, as one of the contestants.

Royce dominated the first years of the UFC against all comers, amassing
eleven victories with no fighting losses. At one event he defeated four
different fighters in one night. This, from a fighter that was smaller
than most of the others (at 170 lbs, in an event with no weight
classes), looked thin and scrawny, and used techniques that most
observers, even experienced martial artists, didn't understand.

In hindsight, much of Royce's success was due to the fact that he
understood very well (and had trained to defend against) the techniques
that his opponents would use, whereas they often had no idea what he
was doing to them. In addition, the ground fighting strategy and
techniques of BJJ are among the most sophisticated in the world.
Besides the immediate impact of an explosion of interest in BJJ across
the world (particularly in the US and Japan), the lasting impact of
Royce's early UFC dominance is that almost every successful MMA fighter
now includes BJJ as a significant portion of their training.
Description:

Brazilian Jiu-Jitsu is primarily a ground-fighting art. Most techniques
involve both fighters on the mat. There is a heavy emphasis on
positional strategy, which is about which fighter is on top, and where
each person's legs are. Positions are stable situations, from which a
large variety of techniques are available to both fighters.

The primary positions include:

* Guard: The person applying the guard is on the bottom with his
back on the ground; his legs are wrapped around his opponent's hips
(who is said to be "in the guard").
* Side control: Chest-on-chest but without the legs being entangled.
* Mount: On top of his opponent (who "is mounted"), sitting on his
chest, with one leg on either side of his torso.
* Back mount: Behind his opponent, with his feet hooked around his
opponent's hips and upper thighs.

Specific techniques taught are designed either to improve one's
position (for example, to "pass the guard", by going from being "in the
guard" to getting around the opponent's legs, resulting in side
control); or else as a finishing submissions. Most submissions are
either chokes (cutting off the blood supply to the brain) or arm locks
(hyperextending the elbow, or twisting the shoulder).

Belt ranks start at white belt, and progress through blue, purple,
brown, and then black. It generally takes about 2-3 years of training
multiple times per week to be promoted to the next belt rank. However,
there is no formal rank test. Instead, rank is about the ability to
apply jiu-jitsu techniques in a competitive match. A student generally
needs to be able to reliably defeat most other students at a given rank
in order to be promoted to the next rank.

Given the jiu-jitsu roots, and the interest in competition,
occasionally related techniques are taught. In each case, other
specific martial arts focus on these sets of techniques more than BJJ,
and they generally just receive passing mention and rare practice in
BJJ training. For example, takedowns tend to be similar to Judo and
western wrestling; leg locks (such as in Sambo) are not encouraged but
sometimes allowed. Some schools teach street self-defense or weapon
defense as well; this instruction tends to be much more like old-style
Japanese jiu-jitsu with partner practice, and rarely impacts the
day-to-day grappling training. Also, many dedicated BJJ students are
also interested in MMA competition, and attempt to practice their
techniques without a gi, and sometimes with adding striking from boxing
or Muay Thai.

Training:

Most training has students wearing a heavy ("jiu-jitsu" or "Judo")
gi/kimono, on a floor with padded mats. A typical class involves 30
minutes of warm ups and conditioning, 30 minutes of technique practice
with a willing partner, and 30 minutes of free sparring training,
against an opponent of equal skill who attempts to submit you.

Most of the training is done with all students on the mat. For example,
training usually beings with both students facing each other from a
kneeling position.

Competition is also encouraged. For a jiu-jitsu tournament, competitors
are divided by age, belt rank, and weight class. Time limits are
generally five to ten minutes, depending on belt rank. Matches start
with both competitiors standing, on a floor with a padded mat. A tap
out from submission ends the match. If time runs out without a
submission, points determine the winner:

* 2 points: Takedown from standing; Knee-on-stomach position; or
Scissor, sweep, or flip, using legs (from bottom position to top)
* 3 points: Passing the guard
* 4 points: Mount; or Mount on back (with leg hooks in)

Many BJJ students are also interested in open submission grappling
tournaments (different points rules, usually no gi), or Mixed Martial
Arts (MMA). Most BJJ instructors encourage such competition, and often
assist in the training. However, typically BJJ classes wear a gi, start
from the knees, and prohibit strikes.

Sub-Styles:

None.

However, note that Brazilian Jiu-Jitsu is sometimes taught under
slightly different names. In Brazil it is generally known simply as
"jiu-jitsu".

Members of the Gracie family often call it "Gracie Jiu-Jitsu", and in
fact this name probably pre-dates the now more-generic BJJ for
labelling the art when outside of Brazil. (This probably would have
become the generic name for the art, but Rorion Gracie trademarked the
phrase for his academy in Torrance, CA. A later lawsuit between Rorion
Gracie and Carley Gracie was resolved to permit Gracie family members
to use that phrase when teaching their family's art of jiu-jitsu.
However, the generic term "Brazilian Jiu-Jitsu" is now preferred for
referring to the art independent of instructor.)

Also, the Machado brothers (cousins of the Gracies) sometimes call
their style "Machado Jiu-Jitsu". Any of these names refer to basically
the same art.


16.4) Bushidokan

(Contributor: Bob Blount - ***@sound.net)

Bushidokan is an eclectic art of recent origin, founded by Jim
Harrison in the late 1960's. Harrison has studied Judo and Shorin-Ryu
karate extensively. The Bushidokan Art is a combination of Okinawan
karate, judo, and some JJ, with the primary emphasis on karate. The
karate portion of Bushidokan's training is quite similar to Shotokan -
definitely Okinawan in ancestry. Bushidokan is best suited for those
interested in effective street self-defense, tournament fighting, and
fairly rugged physical conditioning.

Beginning students learn seven basic stances, seven basic strikes (six
linear, one circular), seven basic blocks (one of which is circular)
and seven basic kicks. Many of the self-defenses taught incorporate
techniniques not included in the "basic" seven, thus exposing the
student to a greater variety. These include a number of throws, a few
soft (redirecting) blocks, and several wrist/hand locks. Two basic
self-defense strategies - a direct counter and an indirect counter -
are taught for each type of attack. Sparring is introduced as
students progress, but is always optional, and ranges from "no
contact" to "full contact".


16.5) Capoeira

(Contributors: Daniel C. Sobral - ***@linf.unb.br,
"Lagartixa" (Gecko) - ***@rohan.sdsu.edu )

Intro:

This is a very acrobatic, very energetic Brazilian martial art.

Origin: Angola and Brazil

History:

Capoeira is the common name for the group of African martial arts that
came out of west Africa and were modifed and mixed in Brazil. These
orginal stlyes inculded weapons, grappling and striking as well as
animal forms that became incorpated into different components and sub
styles of the popular art.

In the 1500's, black slaves from Africa were used in Brazil to build

he empire of the sugar cane. These slaves lacked a form of
self-defense, and in a way quite parallel to Karate, they developed a
martial-art with the things they had in hand, namely, sugar cane
knives and 3/4 staffs. Being slaves, they had to disguise the study of
the art, and that is how the dance came into it.

In the early 1800's Capoeira was outlawed in Brazil, especially in its
"home state" of Bahia, where gangs utilized it as their personal
fighting style against police.

Capoeira was born in the "senzalas", the places where the slaves were
kept, and developed in the "quilombos", the places where they used to
run to when they fled from their enslavers.

Description:

Capoeira consists of a stylized dance, practiced in a circle called
the "roda", with sound background provided by percussion instruments,
like the "agogo", the "atabaqui", etc. The "Berimbau" is a
percussion instrument that is always used on rodas.

Capoeira relies heavily on kicks and leg sweeps for attacks and dodges
for defenses. Is not uncommon to not be taught any kind of hand
strike of parry, though arm positioning for blocks is taught.

The "ginga" (meaning "swing"_, the footwork of Capoeira, consists in
changing the basic stance (body facing the adversary, front leg flexed
with body weight over it, the other leg strechted back) from the right
leg to the left leg again and again.

Capoeira also puts a heavy emphasis on ground fighting, but not
grappling and locks. Instead, it uses a ground stance (from the basic
stance, you just fall over your leg stretched back, flexing it, and
leaving the front leg stretched ahead), from which you make feints,
dodges, kicks, leg sweeps, acrobatics, etc.

Hand positioning is important but it's used only to block attacks and
ensure balance, though street fighting "capoeiristas" use the hands
for punches.

When fighting, it is rare to stop in one stance, and in this case, you
just "follow" your opponent with your legs, preventing him from
getting close, or preparing a fast acrobatic move to take advantage
when he attacks. The rest of the time, you just keep changing stances,
feinting, and doing the equivalent of boxing "jabs".

Training:

After a through warm-up, standing exercises are done, with emphasis on
the "ginga", the footwork characteristic of the art, and on the basic
kicks: "bencao", a front-stomping kick, "martelo", a roundhouse kick,
"chapa", a side-kick, "meia-lua de frente", a low turning kick, "armada",
a high turning kick, "queixada", an outside-inside crescent kick. Then
walking sequences are done, with the introduction of sommersaults,
backflips and headstands, in couples and individual. Some more
technical training follows, with couples beginning a basic and slow
"jogo", and then the whole class forms and goes for "roda" game for at
least 30 minutes.

Capoeira conditions and develops the muscles, especially the abdominal
muscles.

Sub-Styles:

Regional: Capoeira in a more artistic, open form, giving more way to
athletic prowess and training. The newer, faster, more popular style
created by mestre Bimba (the guy who was responsible for the legalization
of capoeira and the founder of the first academy). Breakdancing evolved
from this style, and 90% of all breakdancing moves come directly from
capoeira. This is a faster game, less a fight and more of a showing off. Flourishes, high
kicks, and aerial, acrobatic maneuvers are the hallmark
of the regional game, which is usually played to the beat of the berimbau
known as Sao Bento Grande.

Angola: a more closed, harder style that is closest to the original
African systems that came to Brazil. The "traditional" capoeira, the game
is accompanied by a specific beat of the berimbau by the same name. Angola
games are generally slow and low to the ground, and incorporate a lot of trickery, sweeps
and takedowns, and physically grueling movements that
require great strength and balance.

Iuna: Iuna is not really a style of capoeira. Rather, it refers to a
rhythm of the berimbau that is played when somebody dies or when mestres
(masters) play alone. There is no singing when iuna is played, and only
masters are allowed to play during iuna.


16.6) Cha Yon Ryu

(Contributor: Ross Deforrest - ***@prismnet.com)

Cha Yon Ryu ("Natural Way") is an eclectic, fairly new martial art
founded in 1968 by Kim Soo of Houston, Texas, who remains Director of
the system. Tae Kwon Do contributes kicking techniques, strong stances
and direct, linear strikes and blocks, as does Shotokan Karate. With
the study of movements from Okinawa te (Okinawa), the Cha Yon Ryu
practitioner starts to add techniques with some angularity to his/her
repertoire, and eventually progresses to the fluid, circular movements
of Quanfa Gongfu. Hapkido is the martial art from which are drawn
defenses against chokes, grabs and armed attacks, as well as various
throwing and falling techniques.

Students strive to fulfill The Dojang Hun (Training Hall Oath): Seek
perfection of character, Live the way of truth, Endeavor, Be faithful,
Respect your seniors, and Refrain from violent behavior.


16.7) Cuong Nhu (pronounced "Kung New")

(Contributors: Elizabeth Roman and Robert First -
***@unity.ncsu.edu
and http://www4.ncsu.edu/unity/users/r/rafirst/cooldojo/)

Cuong Nhu is another eclectic, fairly new martial art, founded in 1965
by Master Ngo Dong in Vietnam. The first US school opened in
Gainesville FL in 1971. Cuong Nhu is an integrated martial art
blending hard aspects ("cuong" in Vietnamese) from Shotokan Karate,
Wing Chun Gongfu, and American Boxing, with influences from the soft
("nhu" in Vietnamese) arts of Judo, Aikido, and Taiji, in addition
to Vovinam, a Vietnamese martial art using both hard and soft
techniques. In keeping with its inclusive nature, Cuong Nhu
instruction extends beyond the traditionally martial to public
speaking, poetry, paintint, and philosophy. There is a strong
emphasis on developing self control, modesty, and a non-defeatist
attitude.

Beginning students focus on the hard, linear arts, mostly modified
Shotokan Karate techniques and katas. Experienced students add
movements from more advanced softer, circular arts such as Aikido and
Taiji. All levels get some exposure to the entire range of styles.
Training emphasizes moral and philosophical development, and students
discuss the "Code of Ethics" and selections from Cuong Nhu philosophy
in class. As with other styles, belt color indicates rank as certified
by regional testing.

There are approximately 70 Cuong Nhu dojos in the US. For more
information or the location of a school near you, the Cuong Nhu
Oriental Martial Arts Association (CNOMAA) can be reached at (904)
737-7094 or http://www.cuongnhu.com.


16.8) Daito Ryu Aiki-Jujustu

(Contributors: Torben Alstrup/Ole Kingston - ***@imada.ou.dk)

Intro: A prominent sub-style of Jujutsu

History:

Daito-ryu Aiki-Jujutsu is an old Jujutsu style presumably founded my
Minamoto, Yoshimitsu in the eleventh century. Originally, it was only
practised by the highest ranking Samurais in the Takeda family in the
Kai fiefdom in northern Japan.

Feudal overlord Takeda, Shingen died in 1573, and his kinsman Takeda,
Kunitsugu moved to the Aizu fiefdom, where he became Jito - overseer
of the fief. Kunitsugu introduced Daitoryu Aikijujutsu at the Aizu
fiefdom, where the secret fighting art only was taught to the feudal
lords and the highest ranking samurais and ladies in waiting.

The feudal system was broken down after 1868 when the Meiji
restoration begun. Saigo, Tanomo (1829-1905), the heir to Daito-ryu
gave the system to Takeda, Sogaku (1859-1943) and instructed him to
pass it on to future generations. Takeda, Sogaku first used the term
"Daito-ryu Aikijujutsu" in the beginning of the twentieth century and
taught the art of it to many students.

Takeda, Sogaku taught Daito-ryu from the beginning of the twentieth
century until his death in 1943 two of his best known students were
Ueshiba, Morihei, founder of Aikido and Choi, Yong Sul, founder of
Hapkido.

Other prominent 20th century Daito-ryu masters include Horikawa, Kodo
(1894-1980); Takuma, Hisa (1895-1979); Hakaru, Mori (1931-), the
current director of the Daitoryu Aikijujutsu Takumakai; Sagawa,
Yukiyoshi (1902-); Takeda, Tokimune (1916-1993), son of Takeda,
Sogaku; Katsuyuki, Kondo (1945-); and Okamoto, Seigo (1925-), who is
often considered the most progressive teacher of Daitoryu Aikijujutsu.

Description and Training:

The way of teaching Daitoryu comes from Takeda, Sogaku's students in
the same manner as the understanding, feeling and character of the
techniques. Daito-ryu Aikijujutsu has four levels of techniques:
Shoden (Lowest), Chuden (advanced), Okuden (highest) and Hiden (secret
techniques).

Shoden
The training in Daito-ryu starts with Shoden, where the student learns
ukemi (falling and rolling), taisabaki (moving the body), tesabaki and
ashisabaki (movements of the hands and feet and legs), defense against
grappling, and continues with defense against punches, kicks and
weapons, as for instance short and long staffs (tanbo, jo and chobo)
and knives and swords (tanto and katana).

There are techniques that can be done from standing, sitting or lying
positions. The first transmission scroll Hiden Mokuroku describes the
first 118 jujutsu techniques from the Shoden level.

Chuden
These are advanced jujutsu techniques with large soft movements as
known from Aikido. The actual aiki training consists of a combination
of these techniques and those from Shoden. At this level of training
it is allowed to use some amount of force, several steps and large
movements.

Okuden
When doing Okuden all movements should be as small as possible.
Breathing, reflexes, circles and timing are used instead of muscles;
the techniques are small and fast, and it is not necessary to hold an
attacker in order to throw him.

The reflexes of the attacker are used against him. He gets a soft
shock, similar to an electric shock activating his reflexes, and it
becomes easy to manipulate the body of the attacker so it is felt as
an extension of one's own.

Hiden
These are the secret techniques. The real aiki consists always of soft
techniques that only work properly when the whole body and proper
breathing is used. The attacker is touched easily, you are as glued to
him, and the techniques are so small that even experienced budokas
cannot see what is happening. However, the most fascinating part of
Daito-ryu Aikijujutsu is that it is unnecessary to use physical power
for incapacitating the attacker his own force is turned against him.

16.9) Gatka

(Contributor: Arun Singh - ***@lycos.com)

Intro:

A Sikh martial art.

Origins and History:

Gatka is the martial art of the Sikhs, and is tied in with the
religion Sikhism. It's a weapons-based martial art, which was
imparted to the Sikhs in the time of Guru Hargobind Ji (the sixth
Guru of the Sikhs) by the Rajputs (Hindu warriors of northern India)
in the 16th century, in gratitude for their release from imprisonment
by the fledgling Sikh army of that time. The Sikhs at that time
opposed the Mughal Empire, which violently oppressed both Sikhs and
Hindus in the name of Islam.

The Tenth Master of the Sikhs, Guru Gobind Singh Ji, was an extremely
proficient martial artist.

He continued to encourage the Sikhs to train seriously in the martial
arts, and in 1699 founded the Khalsa, a special Order, to which all
Sikhs would thereafter aspire to joining. The Khalsa was subject to
strict military and personal discipline, and were enjoined to, inter
alia, always carry 5 items with them: the Kanga (a small wooden
comb), Kachhehra (long drawers instead of a loincloth), Kara (a steel
bracer worn on the right wrist), Kesh (uncut hair) and Kirpan (curved
sword). The Khalsa was enjoined to train to fight, and to vigorously
resist the oppression of any religious community, including Sikhs and
Hindus. The wearing of the kirpan represented the martial character
of the Khalsa, and all Sikhs, men, women and children, were
encouraged to resist their Mughal oppressors, and to train diligently
in gatka.

Gatka was used succesfully by the Sikhs throughout the 16th and 17th
centuries, in numerous battles against the Mughal forces. Eventually,
the Sikhs succeeded in deposing the Mughal overlords, and in creating
a new, tolerant rulership in the Punjab (the "Land of Five Rivers", a
region in modern-day India and Pakistan).

Gatka is, and has always been, taught as a spiritual exercise in
Sikhism. Sikhism requires its followers to become absorbed in
honouring the Name of God, and this is taught through the ecstatic
exercise of gatka. Sikhism and gatka are inextricably intertwined, in
many ways.

Description:

Gatka actually refers to the soti, a wooden stick used in training,
which is equipped with a basket hilt. The entire martial art is based
on the correct use of a vast array of melee (hand-to-hand) weapons.
The foundation of the art is the panthra, a basic form and
methodology for moving the feet, body, arms and weapons correctly, in
unison. Gatka is normally taught with rhythmic accompaniment, and the
object is to achieve fluid, natural and flowing movement, without
hesitation, doubt or anxiety. The attacking and blocking methods are
all based upon the positions of the hands, feet and weapon(s) during
the panthra dexterity exercise. Many weapons are taught with special
methodologies, in addition to the panthra exercise.

There are set of unique "chambers" and other techniques, which are
unique to certain weapons, such as the khanda (two-edged sword), the
tabar (axe) and the barcha (spear).

The most common weapon used by gatka exponents today is the lathi (a
stick of varying length), but all of the other traditional weapons
are still taught. A common combination in that hands of gatka
practitioners of today and in the past is the sword and shield.

The panthra exercise is a flowing, non-stop movement, and there are
no specific "techniques" as such in gatka. Rather, the methods of
attacking and defending are the same, and the application depends on
the circumstances at the time. The panthra exercise is practised at
the same time as the "Jaap Sahib" prayer is being sung. Also, a
three-beat-per-cycle is played by a drummer at the same time. This
assists in developing natural and flowing co-ordination.

Training:

Most gatka groups train in a religious or semi-religious situation,
such as in a gurdwara (a Sikh place of worship) or in a Sikh cultural
centre or school. However, in recent years a number of "Akhara"
(regiment or gymnasium) organisations have been founded, with the
express purpose of teaching and disseminating the skill of gatka.

Gatka students always train with "both hands full", as this is both
an excellent exercise for matching the two halves of the body and is
emphasised as ideal for combat. Gatka emphasises the superiority of
having something in both hands, whether it's two sticks, or a stick
and a sword, or a sword and a shield or any other combination.

At an advanced level, gatka is always tailored to the practitioner.
Hence the gatka practitioner will eventually focus all of his effort
on training his or her abilities with a chosen weapon or combination
of weapons.

Competition:

Gatka was never originally intended as a competitive sport. However,
recently a number of modern gatka organisations have introduced
competition. Normally, these are based on a "best of two" or a "best
of Five" hits contest between two practitiners.

How to find an instructor:

The best traditional gatka practitioners outside the Punjab are known
by word of mouth only. However, some organisations have recently
begun teaching their own variation of gatka, in schools and clubs, in
the same way as any other martial art. These organisations usually
advertise, too. However, their gatka may differ significantly from
the traditional form of the art, either by accident or design. It may
be fruitful to consult your local gurdwara (Sikh temple) officials in
order to find a reputable gatka instructor who is willing to teach
you. Discretion (most gatka experts disdain being the centre of
attention) and courtesy will be indispensable in finding yourself a
willing instructor in the art.


16.10) HapKiDo

(Contributors: Randy Pals - ***@ipact.com,
Ray Terry - ***@hpkel02.cup.hp.com,
Dakin Burdick - ***@silver.ucs.indiana.edu)

Intro:

This Korean art is sometimes confused with Aikido, since the Korean
and Japanese translation of the names is the same.

Origin: Korea

History:

Hapkido history is the subject of some controversy.

Some sources say that the founder of Hapkido, Choi, Yong Sul was a
houseboy/servant (some even say "the adopted son") of Japanese Daito
Ryu Aikijujutsu GrandMaster Takeda, Sokaku. In Japan, Choi used the
Japanese name Yoshida, Tatsujutsu since all immigrants to Japan took
Japanese names at that time. Choi's Japanese name has also been given
as Asao, Yoshida by some sources. According to this view, Choi
studied under Takeda in Japan from 1913, when he was aged 9, until
Takeda died in 1943. However, Daito Ryu records do not reflect this,
so hard confirmation has not been available. Some claim that Choi's
Daito Ryu training was limited to attending seminars.

Ueshiba, Morihei, the founder of Aikido, was also a student of Takeda
(this is not disputed). Hapkido and Aikido both have significant
similarities to Daito Ryu Aikijujutsu, so it would seem that Hapkido's
link to it is real, regardless of how and where Choi was trained.

Choi returned to Korea after Takeda's death and began studying Korean
arts and teaching Yu Sool or Yawara (other names for jujutsu),
eventually calling his kwan ("school") the Hapki Kwan. Ji, Han Jae,
began studying under Choi and eventually started his own school, where
he taught what he called Hapkido, after the grandmaster's school.
Along the way, Hapkido adopted various techniques from Tang Soo Do,
Tae Kyon, and other Korean kwans (schools).

Korean sources may tend to emphasize the Korean arts lineage of
Hapkido over the Aikijujutsu lineage, with some even omitting the
Aikijujutsu connection. However, as noted above, the connection can
be seen in the techniques.

Ji now calls his system Sin Moo Hapkido. He currently lives and
teaches in California, as does another former Choi student, Myung,
Kwang Sik, who is GrandMaster of the World Hapkido Federation.

Some other Choi Hapkido students are still living. Chang, Chun Il
currently teaches in New York City, and Im, Hyon Soo lives and teaches
in Korea. Both of these men were promoted to 9th dan by Choi. One of
the first Hapkido masters to bring the art to the western culture was
Han, Bong Soo.

In the 1970's and 80's Hapkido was taught as the style of choice to
elite South Korean armed forces units.

Description:

Hapkido combines joint locks, pressure points, throws, kicks, and
strikes for practical self-defense. More soft than hard and more
internal than external, but elements of each are included. Emphasizes
circular motion, non-resistive movements, and control of the opponent.

Although Hapkido contains both outfighting and infighting techniques,
the goal in most situations is to get inside for a close-in strike,
lock, or throw. When striking, deriving power from hip rotation is
strongly emphasized.

Training:

Varies with organization and instructor. As a general rule, beginners
concentrate on basic strikes and kicks, along with a few joint locks
and throws. Some of the striking and kicking practice is form-like,
that is, with no partner, however, most is done with a partner who is
holding heavy pads that the student strikes and kicks full power.

Advanced students add a few more strikes and kicks as well as many
more throws, locks, and pressure points. There is also some weapons
training for advanced students - primarily belt, kubatan, cane, and
short staff.

Some schools do forms, some do not. Some do sparring and some do not,
although at the advanced levels, most schools do at least some
sparring. Many Hapkido techniques are unsuitable for use in sparring,
as their use would result in injury, even when protective gear is
used. Thus, sparring typically uses only a limited subset of
techinques.

There is generally an emphasis on physical conditioning and excercise,
including "ki" exercises.


16.11) Hwa Rang Do

(Contributor: Carsten Jorgensen - ***@usa.net)

Intro:

Hwa Rang Do is a comprehensive martial arts system whose training
encompasses unarmed combat, weaponry, internal training and healing
techniques. Translated, Hwa Rang Do means "the way of flowering
manhood".

Origin: Korea

History:

For the ancient history of the Hwarang, please refer to the Ancient
Korean History section of http://www.hwarangdo.com/hrd1.htm.

In March 1942 present day founder of Hwa Rang Do, Dr. Joo Bang Lee and
his brother, Joo Sang Lee was introduced to the Buddhist monk Suahm
Dosa by their father, who was a personal friend of the monk, and they
began their formal training aged 5 & 6.

The brothers lived and trained as the sole students with the monk
mostly in weekends and during school vacations but also trained in
other martial arts when they were unable to train under Suahm Dosa.
Influences include Boxing, Yudo, Komdo, and Tang Soo Do. In addition

the Lee Brothers attained Master level of Dae Dong Ryu Yu Sul (modern
name - Hapkido) from its founder Choi Yong Sool in October 1956.

In April 1960 Dr. Joo Bang Lee created and founded his martial art by
combining Suham Dosa's techniques with the other systems he had
trained. He choose the name Hwa Rang Kwan to describe his system and
this also marked the first time the Hwa Rang was used publicly in
connection with unarmed Korean martial arts. There is no way of
knowing if the techniques Suahm Dosa taught the brothers actually was
the martial art of the Silla Hwa Rang, or another form of monk martial
art.

In 1967, at the request of President Park, Dr. Joo Bang Lee organized
the unification of the Korean martial arts and directed the Unified
Korean Martial Arts Exposition on May 27, 1968 at the Jang Chung
Sports Arena in Seoul. Since it was difficult for all martial art
organization leaders to agree on methods of administration, this
organization was also disbanded shortly after the exposition.

Following the dissolution, Dr. Joo Bang Lee concentrated his efforts
solely on the development of his martial art to the exclusion of all
other martial arts. He renamed it Hwa Rang Do translated to mean "The
Way of the Flowering Manhood". (Do - represents "the way" or the
"martial art"). Also this marked the first time the character for
"Way" was used in connection with the Hwa Rang and the unarmed martial
arts.

In 1968, Head Grandmaster Joo Sang Lee introduced Hwa Rang Do to the
United States of America. Dr. Joo Bang Lee became the system's supreme
grandmaster upon Suahm Dosa's death in 1969. He immigrated to America
in 1972 and founded the World Hwa Rang Do Association and since then
Hwa Rang Do has spread all over the world. Today Dr. Joo Bang Lee
presides over the World Hwa Rang Do Association, Hwa Rang Do World
Headquarters in Downey, California (USA).

Description:

Hwa Rang Do is a combination of UM (soft/circular movement) and YANG
(hard/linear movement). The Mu Sul (martial aspects) of Hwa Rang Do
can be further explained in four distinct - though interconnecting -
major paths of study.

NAE GONG - deals with developing, controlling, and directing one's Ki,
or internal energy force, through breathing and meditation exercises
in conjunction with specific physical techniques.

WAE GONG - Wae gong includes more than 4000 offensive and defensive
combative applications. Combining elements predominantly tense and
linear in nature with those soft and circular, these techniques mesh
to form a natural fighting system. This phase includes full
instruction in all hand strikes and blocks (trapping and grabbing as
well as deflection applications, using the hands, wrist, forearm,
elbows, arms and shoulders), 365 individual kicks, throws and falls
from any position and onto any surfaces, human anatomical structure as
it pertains to combat applications (knowing and utilizing the body's
weak points to effectively control the opponent, regardless of their
size), joint manipulation and breaking, finger pressure-point
application, prisoner arrest, control and transport, grappling
applications, forms, offensive choking and flesh-tearing techniques,
defense against multiple opponents, breaking techniques,
counter-attacks, and killing techniques.

MOO GI GONG - involves the offensive and defensive use of the over 108
traditional weapons found within 20 categories of weaponry. By
learning these various weapon systems, the practitioner can most
effectively utilize any available object as a weapon as the situation
demands.

SHIN GONG - is the study, development, and control of the human mind
in order to attain one's full potential and mental capabilities.
Techniques are taught to achieve an increase in one's total awareness,
focus, and concentration levels. Included are instruction in :
controlling one's mind; development of the "sixth sense"; memory
recall; the study of human character and personalities; practical
psychology; visualization; the art of concealment and stealth as
utilized by special agents (Sulsa); as well as advanced, secretive
applications. Hwa Rang Do teaches both the martial art (mu-sul) and
healing art (in-sul). If one is able to injure or worse, then he/she
should know how to heal as well, once again maintaining harmony
through balance of opposites. First aid applications, revival
techniques are taught in conjunction with the traditional full studies
of acupuncture, Royal Family acupressure, herbal and natural
medicines, and bone setting.

Training:

A typical training session includes Meditation (beginning and end of
class). Total body stretching and warm-up exercises. Basic punching
and kicking practice. Ki power exercises. "Basic-8" combination drills
(which vary by belt rank). Two-man countering techniques (vary by belt
rank). Open session which may include: sparring, tumbling, grappling,
sweeps, or advanced techniques. Self-defense techniques. Cool down
exercises. Hwa Rang Do code of ethics.

For further information, please refer to http://www.hwarangdo.com
and/or write to:
World Hwa Rang Do Association
8200 E. Firestone Blvd.,
Downey, Ca 90241
[phone]


16.12) Iaido

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: The Art of drawing the sword for combat.

Origin: Japan

History:

This art is very old, and has strong philosophical and historical ties
to Kenjutsu. It was practiced by Japanese warriors for centuries.

Description:

The object is to draw the sword perfectly, striking as it is drawn,
so that the opponent has no chance to defend against the strike.

Training:

Usually practiced in solo form (kata), but also has partner forms
(kumetachi).

Sub-Styles: Muso Shinden Ryu, Muso Jikishin Ryu, and others.


16.13) Judo

(Contributors: Neil Ohlenkamp - ***@aol.com,
Michael D'Auben - ***@compuserve.com)

Intro:

Judo is a sport and a way to get in great shape, but is also very
useful for self-defense.

Origin: Japan

History:

Judo is derived from Jujutsu (see Jujutsu). It was created by
Professor Jigoro Kano who was born in Japan in 1860 and who died in
1938 after a lifetime of promoting Judo. Mastering several styles of
jujutsu in his youth he began to develop his own system based on
modern sports principles. In 1882 he founded the Kodokan Judo
Institute in Tokyo where he began teaching and which still is the
international authority for Judo. The name Judo was chosen because it
means the "gentle way". Kano emphasised the larger educational value
of training in attack and defense so that it could be a path or way of
life that all people could participate in and benefit from. He
eliminated some of the traditional jujutsu techniques and changed
training methods so that most of the moves could be done with full
force to create a decisive victory without injury.

The popularity of Judo increased dramatically after a famous contest
hosted by the Tokyo police in 1886 where the Judo team defeated the
most well-known jujutsu school of the time. It then became a part of
the Japanese physical education system and began its spread around the
world. In 1964 men's Judo competition became a part of the Olympics,
the only eastern martial art that is an official medal sport. In 1992
Judo competition for women was added to the Olympics.

Description:

Judo is practiced on mats and consists primarily of throws
(nage-waza), along with katame-waza (grappling), which includes
osaekomi-waza (pins), shime-waza (chokes), and kansetsu-waza
(armbars). Additional techniques, including atemi-waza (striking) and
various joint locks are found in the judo katas. Judo is generally
compared to wrestling but it retains its unique combat forms. As a
daughter to Jujutsu these techniques are also often taught in Judo
classes.

Because the founder was involved in education (President of Tokyo
University) Judo training emphasizes mental, moral and character
development as much as physical training. Most instructors stress the
principles of Judo such as the principle of yielding to overcome
greater strength or size, as well as the scientific principles of
leverage, balance, efficiency, momentum and control.

Judo would be a good choice for most children because it is safe and
fun.

Training:

Judo training has many forms for different interests. Some students
train for competition by sparring and entering the many tournaments
that are available. Other students study the traditional art and
forms (kata) of Judo. Other students train for self-defense, and yet
other students play Judo for fun. Black belts are expected to learn
all of these aspects of Judo.

Sub-Styles:

Because Judo originated in modern times it is organized like other
major sports with one international governing body, the International
Judo Federation (IJF), and one technical authority (Kodokan). There
are several small splinter groups (such as the Zen Judo Assoc.) who
stress judo as a "do" or path, rather than a sport.

Unlike other martial arts, Judo competition rules, training methods,
and rank systems are relatively uniform throughout the world.


16.14) Jujutsu

(Contributor: Darren Wilkinson - ***@hippo.herston.uq.oz.au)

Intro:

Old, practical, fighting art. A parent to Judo, Aikido, and Hapkido.

Origin: Japan

History:

The begining of Ju-jutsu can be found in the turbulent period of
Japanese history between the 8th and 16th Century. During this time,
there was almost constant civil war in Japan and the classical
weaponed systems were developed and constantly refined on the battle
field. Close fighting techniques were developed as part of these
systems to be use in conjunction with weapons against armoured, armed
apponents. It was from these techniques that Ju-jutsu arose.

The first publicly recognised Ju-jutsu ryu was formed by Takenouchie
Hisamori in 1532 and consisted of techniques of sword, jo-stick and
dagger as well as unarmed techniques.

In 1603, Tokugawa Ieyasu brought peace to Japan by forming the
Tokugawa military government. This marked the beginning of the Edo
period of Japanese history (1603-1868), during which waring ceased to
be a dominant feature of Japanese life.

In the beginning of this period there was a general shift from
weaponed forms of fighting to weaponless styles. These weaponless
styles were developed from the grappling techniques of the weaponed
styles and were collectively known as ju-jutsu. During the height of
the Edo period, there were more than 700 systems of jujutsu.

The end of the Edo was marked by the Meiji Restoration, an abortive
civil war that moved power from the Shogun back to the Emperor. A
large proportion of the Samurai class supported the Shogun during the
war. Consequently, when power was restored to the Emperor, many things
related to the Samurai fell into disrepute. An Imperial edict was
decreed, declaring it a criminal offence to practice the old style
combative martial arts. During the period of the Imperial edict,
Ju-jutsu was almost lost. However, some masters continued to practice
their art "under-ground", or moved to other countries, allowing the
style to continue. By the mid twenty century, the ban on ju-jutsu in
Japan had lifted, allowing the free practicing of the art.

Description:

The style encompasses throws, locks, and striking techniques, with a
strong emphasis on throws, locks, and defensive techniques. It is
also characterized by in-fighting and close work. It is a circular,
hard/soft, external style.

Training: Practical with a heavy emphasis on sparring and mock combat.

Sub-Styles:

There are many, each associated with a different "school" (Ryu). Here
is a partial list: Daito Ryu, Danzan Ryu, Shidare Yanagi Ryu, Hokuto
Ryu, Hakko Ryu, Hontai Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu.

A more modern addition to this list is "Brazilian Jujutsu" or "Gracie
Jujutsu", so named because of its development by the Gracie family of
Brazil. Gracie/Brazilian Jujutsu (or GJJ/BJJ as it has come to be
known on rec.martial-arts) has a heavy emphasis on
grappling/groundfighting.


16.15) Kajukenbo

(Contributors: Peter Jason Ward - [e-mail],
Todd D. Ellner - ***@cs.pdx.edu)

Intro:

An eclectic martial art that is a blend of Karate, Judo, Kempo, and
Boxing, from which arts it takes its name.

History:

Kajukenbo was synthesized in the Palomas settlements of Hawaii during
the years 1949-1952. Five practitioners of their respective martial
arts developed Kajukenbo to complement each others styles to allow
effective fighting at all ranges and speeds. The last living founder
of Kajukenbo is Sijo Adriano D. Emperado who practiced kempo and
escrima. (Other founders are P.Y.Y. Choo, Frank Ordonez, J. Holck,
and Professor C. Chang). It was decided that kempo would be the
scafolding around which Kajukenbo was built. The arts drawn upon to
found Kajukenbo are Tang soo do, judo, ju-jitsu, kempo, and chu'an fa
gung fu (Chinese boxing); hence the name Ka-ju-kem-bo (Tang Soo Do was
shortened as a form of karate, even though that is technically
incorrect).

To test the effectiveness of their origional techniques the five
founders would get into fights around the Palomas settlements (the
worst slum in Hawaii at the time). If the technique succeeded
consistently in streetfighting it was kept as part of the system.

From these field test came Kajukenbo's Quins (known as the Palomas

sets (forms or kata)), Natural laws (self-defense), Tricks
(close-quarters fighting), and grab arts (escapes).

Description:

Kajukenbo concentrates on being an effective art at all ranges of
fighting, kicking -> Punching -> Trapping -> Grappling. While many
schools of karate and Korean martial arts concentrate on kata,
Kajukenbo stresses the self-defence movements over the relatively
fewer forms in the art. The reasoning behind this is that a
practitioner must be capable of defending himself in streetfighting
situations before turning inward to perfect the 'art' of Kajukenbo.
At higher levels there is meditative and chi training, but the author
cannot comment further at his level of experience.

Kajukenbo stresses the following-up of techniques based on an
opponents reactions and not stopping with just one hit. The reasoning
is that while one should strive to end a fight with the fewest
techniques nessesary, it is important to know how an opponent will
respond to attacks, and how best to take advantage of his reactions.
A major ethical point behind my instruction was, "If he starts the
fight, you decide when the fight is over."

Training:

The training is physically intense and very demanding. Exercise is a
part of the class structure to insure that practitioners will be
physically capable of defending themselves outside of the dojo. The
warm-up and callistenics typically last 1/3 of the class period.
Emphasis is placed on bag work (kick, punching, elbows, and knees) as
well as sparring and grappling (contact with control). After a certain
amount of time training, students begin to throw real punches at each
other and their partner is expected to react appropriately or face the
consequences. Learning to absorb and soften an impact is also a major
facet of training. Quins (kata) are performed to fine-tune a person's
movements while working with partners for self defense teaches a
student how to manipulate an opponent and follow up on his reactions.

Sub-Styles:

Kajukenpo, formed in 1970 by Algene Caraulia, and headquartered in
Cleveland, Ohio (from Anthony Schaaf <***@mtu.edu>).

Kenpo Karate is considered to be a sub-style of Kajukenbo (see

eparate entry on Kenpo) and is very close to "the original"
Kajukenbo.

Tum Pai, created in part by Sifu Al Dacascos, is adminstered by Sifu
Jon Loren, and incorporates more of the soft, internal Chinese arts.

Kajukenbo Chuan Fa was created by Dela Cruz and Professor Emperado and
has been taken over by Leonard Endrizzi and Bill Owens. It includes
more Chinese martial arts than Kenpo Karate and is softer but no less
rigorous.

Wun Hop Kuen Do is the newest sub-style - the personal expression of
Sifu Dacascos, containing the original syllabus but with more Chinese
and Filipino influence.


16.16) Kali/Escrima/Arnis

(Contributors: Andy Maddox - ***@clark.net
Russ Rader - ***@ix.netcom.com
Tim Rivera - ***@umr.edu)

Intro:

Kali, Escrima, and Arnis are all terms for the native fighting arts of
the Philippines, specifically the arts that use weapons. 'Arnis' and
'Escrima' (or 'Eskrima') are words rooted in Spanish, while 'Kali'
shows up in various pre-Spanish Pilipino dialects.

Some authorities say that Arnis is a term used in the northern parts of
Luzon Island, Escrima or Eskrima is used more commonly in the middle
parts of the Philippines, such as Cebu City, and Kali is used in the
southern island of Mindanao. Some of those who say that Kali is the
term for the southern styles claim that, since Mindanao was never
conquered by the Spanish to the extent that the rest of the Philippines
was, Kali more closely resembles the original pre-Spanish arts of the
area, and is more "complete" (covers more combative possibilities).

There are also some who claim that the word Kali is part of a modern
attempt to marginalize the Spanish (and other European) influence on
Filipino martial arts, and some go so far as to refer to Kali as a
"Filipino-American" style.

However, most people tend to say that the words don't matter - every
village, and often every master, has a distinct style, and that's what
the important thing is - "do you study Illustrisimo, Caballero, or
Cabales style?" Not "do you study escrima or kali?"

Origin: The Phillipines

History:

Filipino martial arts are the result of the interaction of Spanish and
possibly Italian and other European styles of sword-fighting (cut and
thrust rather than fencing, probably) with the native arts that existed
at the time. Although the European influence is probably mostly
Spanish, there is some evidence of Italian and possibly other European
mercenaries present in the Phillippines, and they probably used (and
possibly taught) their own native fighting styles.

The most popular legend concerning the Filipino arts is that Datu
(Chief) Lapu Lapu killed the Spanish explorer Ferdinand Magellan in
personal combat.

Description:

There are many different styles of Filipino martial arts, but general
categories can be drawn along the lines of range. Largo Mano styles
tend to prefer staying at long distance from their opponents, and using
well-timed and placed strikes to the hands of their opponents to disarm
them. Corto or Serrada styles are the opposite, tending to crowd into
their opponents, where the opponent will hopefully be uncomfortable and
unprepared, while the Serrada practitioner, by virtue of his practice,
will feel at home at this range. Other styles prefer the medio, or
middle range, which is between Largo Mano and Serrada. There are also
styles, such as Lameco Escrima, that address all three ranges. The
name Lameco even comes from these ranges; (La)rgo Mano, (Me)dio, and
(Co)rto.

The different Filipino styles typically cover some (or all) of the following
areas:

1 Single Stick (or long blade)
2 Double long weapon
3 Long & Short (sword & dagger, e.g.)
4 Single dagger
5 Double Dagger
6 Palm Stick/Double-end Dagger
7 Empty Hands (punching, kicking, grappling)
8 Spear/Staff, long weapons (two-handed)
9 Flexible weapons (whip, sarong, etc.)
10 Throwing weapons
11 Projectile weapons (bows, blowguns)
12 Healing arts

A further distinction that some people make is that some Filipino
styles are, at their heart, blade arts, while others are designed to
work with sticks. There are some arts, such as Sayoc Kali, that focus
on the knife almost exclusively, while there are others, such as some
lineages of Balintawak Eskrima, that focus almost entirely on the
single stick. This focus in certain lineages or styles may be the
origin of the notion that Kali is more "complete" than Arnis or
Escrima. However, this is a matter of some contention.

A distinctive feature of all of these Filipino arts is their use of
geometry. In strikes/defenses and movement, lines and angles are very
important. In addition, the independent use of the hands, or hands and
feet, to do two different things at the same time, is a high-level
skill sought after a fair amount of experience.

Training:

Filipino styles normally classify attacks not by their weapon, or
their delivery style, but by the direction of their energy - for
example, a strike to the head is usually analyzed in terms of "a high
lateral strike." A punch to the gut is treated much the same as a
straight knife thrust to that region would be. Students learn how to
deal with the energy of the attack, and then apply that knowledge to
the slight variations that come with different lengths and types of
weapons.

Filipino arts place great emphasis on footwork, mobility, and body
positioning. The same concepts (of angles of attack, deflections,
traps, passes, etc.) are applied to similar situations at different
ranges, making the understanding of ranges and how to bridge them very
important. The Filipinos make extensive use of geometric shapes,
superimposing them on a combat situation, and movement patterns, to
teach fighters to use their position and their movement to best
advantage. Some styles emphasize line-cutting (a la Wing Chun), while
some are very circular (like Aikido). Some like to stay at long range,
some will move inside as soon as possible. These differences are hotly
debated, as are most things, but they all work differently for
different people.

Most Filipino arts stress the importance of disarming an opponent in
combat. This is not usually done gently, or by using a complex disarm
(although these are taught), but by "destroying" the hand holding the
attacking weapon using your weapon (break the hand, and the stick will
fall.) This is often referred to as "de-fanging the snake", since a
poisonous snake that has no fangs cannot harm you.

Sub-Styles:

Latosa Escrima, Serrada Escrima, Dumog, Panandiakman, Panantukan, Sikaran.

Serrada Escrima, Balintawak Eskrima, Modern Arnis, Garimot Arnis,
Inosanto/LaCoste Kali, Sayoc Kali, Doce Pares, Pekiti-Tirsia Kali, many
more.


16.17) Karate

(Contributors: Howard S. High - ***@kuhub.cc.ukans.edu,
Avron Boretz - ***@cornell.edu,
Izar Tarandach - ***@cs.huji.ac.il,
Richard Parry - ***@kosmos.wcc.govt.nz)

Intro:

Somewhat generic term used for Japanese and Okinawan fighting arts.

Origin: Okinawa

History:

Karate is a term that either means "Chinese hand" or "Empty hand"
depending on which Japanese or Chinese characters you use to write it.
The Okinawan Karates could be said to have started in the 1600s when
Chinese practitioners of various Gongfu styles mixed and trained with
local adherents of an art called "te" (meaning "hand") which was a
very rough, very simple fighting style similar to Western boxing.
These arts generally developed into close- range, hard, external
styles.

In the late 19th century Gichin Funakoshi trained under several of the
great Okinawan Karate masters (Itosu, Azato) as well as working with
Jigoro Kano (see Judo) and Japanese Kendo masters (see Kendo).
Influenced by these elements, he created a new style of Karate. This
he introduced into Japan in the first decade of the 20th century and
thus to the world. The Japanese Karates (or what most people refer to
when they say "karate") are of this branch.

Description:

Okinawan Karate styles tend to be hard and external. In defense they
tend to be circular, and in offense linear. Okinawan karate styles
tend to place more emphasis on rigorous physical conditioning than the
Japanese styles. Japanese styles tend to have longer, more stylistic
movements and to be higher commitment. They also tend to be linear in
movement, offense, and defense.

Both tend to be high commitment, and tend to emphasize kicks and
punches, and a strong offense as a good defense.

Training:

This differs widely but most of the Karate styles emphasize a fairly
equal measure of basic technique training (repitition of a particular
technique), sparring, and forms. Forms, or kata, as they are called,
are stylized patterns of attacks and defenses done in sequence for
training purposes.

Sub-Styles: (Okinawan): Uechi-Ryu, Goju-Ryu, Shorin-Ryu, Isshin-Ryu
(Japanese): Shotokan, Shito-Ryu, Wado-Ryu

Here is a more complete list (complements of Howard High) in which
Okinawan and Japanese styles are mixed:

Ashihara, Chinto-Ryu, Chito-Ryu, Doshinkan, Gohaku-Kai, Goju-Ryu
(Kanzen), Goju-Ryu (Okinawan), Goju-Ryu (Meibukan), Gosoku-Ryu,
Isshin-Ryu, Kenseido, Koei-Kan, Kosho-Ryu Kenpo, Kyokushinkai, Kyu
Shin Ryu, Motobu-Ryu, Okinawan Kempo, Okinawa Te, Ryokukai, Ryuken,
Ryukyu Kempo, Sanzyu-Ryu , Seido, Seidokan, Seishin-Ryu, Shindo
Jinen-Ryu, Shinjimasu, Shinko-Ryu, Shito-Ryu (Itosu-Kai), Shito-Ryu
(Seishinkai), Shito-Ryu (Kofukan), Shito-Ryu (Kuniba Ha) , Shito-Ryu
(Motobu Ha), Shorin-Ryu (Kobayashi), Shorin-Ryu (Matsubayashi),
Shorin-Ryu (Shobayashi), Shorin-Ryu (Matsumura), Shorinji Kempo,
Shorinji-Ryu, Shoshin-Ryu, Shotokai, Shotokan, Shotoshinkai, Shudokai,
Shuri-Ryu, Shuri-Te, Uechi-Ryu , Wado-Kai, Wado-Ryu, Washin-Ryu,
Yoseikan, Yoshukai, Yuishinkan.

Sub-Style Descriptions:

Wado-Ryu was founded by Hironori Ohtsuka around the 1920s. Ohtsuka
studied Jujutsu for many years before becoming a student of Gichin
Funakoshi. Considered by some to be Funakoshi's most brilliant
student, Ohtsuka combined the movements of Jujutsu with the striking
techniques of Okinawan Karate. After the death of Ohtsuka in the early
1980s, the style split into two factions: Wado Kai, headed by
Ohtsuka's senior students; and Wado Ryu, headed by Ohtsuka's son,
Jiro. Both factions continue to preserve most of the basic elements of
the style.

Uechi-ryu Karate, although it has become one of the main Okinawan
martial arts and absorbed many of the traditional Okinawan karate
training methods and approaches, is historically, and to some extent
technically quite separate. The "Uechi" of Uechi-ryu commemorates
Uechi Kanbun, an Okinawan who went to Fuzhou, the capital city of
Fujian province in China in 1897 to avoid being drafted into the
Japanese army. There he studied under master Zhou Zihe for ten years,
finally opening his own school, one of the few non-Chinese who
ventured to do so at the time. The man responisble for bringing
Uechi-ryu to the US is George Mattson.

Uechi-ryu, unlike the other forms of Okinawan and Japanese karate
mentioned in the FAQ, is only a few decades removed from its Chinese
origins. Although it has absorbed quite a bit of Okinawan influence
and evolved closer to such styles as Okinawan Goju-ryu over those
decades, it still retains its original Chinese flavor, both in its
technique and in the culture of the dojo. It is a "half-hard,
half-soft" style very similar to such southern Chinese styles as
Fukienese Crane (as still practiced in the Chinese communities of
Malaysia), Taiwanese Golden Eagle, and even Wing Chun. Conditioning
the body for both attack and defense is a common characteristic of
both Okinawan karate and southern Shaolin "street" styles, and as such
is an important part of Uechi training. There is a strong internal
component to the practice, including focused breathing and tensioning
exercises similar to Chinese Qigong. Uechi, following its Chinese
Crane heritage, emphasizes circular blocks, low snap kicks, infighting
(coordinating footwork with grabs, locks, throws, and sweeps), and
short, rapid hand traps and attacks (not unlike Wing Chun).


16.18) Kendo

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: This is a popular sport in Japanese communities.

Origin: Japan

History:

Kendo is the sport and competitive form of Kenjutsu. Kendo has been
practiced for a long time in one form or another.

Description:

The practitioners wear protective armor and use simulated swords
(split bamboo called "shinai") to "spar" against one another. Strike
areas are limited as are moves. It is a very formal art. It is
linear, hard, and external.

Training:

Training mostly consists of two-person drills, basics, and some kata
that have been retained from kenjutsu between individuals.

Sub-Styles: none (?)


16.19) Kenjutsu

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: The combative use of a sword.

Origin: Japan

History:

The origins of this art are lost in the midst of history. It probably
has its origins in 12th century or 11th century Japan. It is famous
in myth and story from people like Miyamoto Mushashi in the 15th
century.

There are 4 root systems, Cujo-ryu, Nen-ryu, Kage-ryu and Shinto Ryu.
These probably all have roots prior to the beginning of the 16th
century. In the 16th century, there was an explosion of styles, with
many being formed between then and the present.

Modern kenjutsu schools trace from either the monk Jion (Nen ryu or
Cujo ryu) or from Iiosai, the founder of the Tenshin Shoden Katori
Shinto Ryu.

Description:

This is a hard, weapon style using the Japanese sword. It involves
powerful, high commitment strikes to selected targets in order to kill
the opponent. There is a strong side of spiritual and philosophical
study, similar in a way to that of Aikido.

Training:

There is a large amount of two-person work, mostly with wooden swords
(bokken). Some schools use the fukuru shinai, an ancestor of todays
weapon (Shinkage ryu, Nen-ryu). Sparring is a developed student
activity.

Sub-Styles:

Kage, Shinkage, Yagyu Shinkage Cujo, Itto-ryu, Nen-ryu, Katori Shinto
Ryu, Kashima shin-ryu, Niten-ichi-ryu, Jigen-ryu.

Shinkage was a royal school - for the Shogun.


16.20) Kenpo (American - see also Kajukenbo)

(Contributor: Stephen Kurtzman - ***@kurtzman.com)

Note: In the Japanese language, the consonants "n" and "m" have the
same symbol, thus the English spelling can be rendered either "Kempo"
or "Kenpo". There are several arts in this family, but the spelling
of "Ken/mpo" is not of significance in distinguishing between them.

This art is also called Kenpo Karate. American Kenpo is an eclectic
art developed by Hawaiian Ed Parker in the 60s. The art combines the
Kara-Ho Kenpo which Parker learned from William Chow with influences
from Chinese, Japanese, Hawaiian, and Western Martial sources.

American Kenpo blends circular motions and evasive movements with
linear kicks and punches. The art is oriented toward street-wise self
defense. A big emphasis on basics, sparring, and kata. It is similar
to most Karate styles in its training mechanisms.

The Tracy schools of Kenpo teach Parker's style, but are a
"politically" separate organization.


16.21) Kempo (Kosho Ryu)

Contributor: Mark Edward Bober (***@itw.com)

Introduction:

Kosho Ryu Ken/mpo is a philosophical art much like Jeet Kune Do but
with a Zen influences...lots of mind science material and healing
arts. It is not a style of compiled kata or specific techniques..it is
a study of all motion and therefore cannot be stylised to look like a
specific teacher or animal movement. Thus, this writeup will discuss
only the history of the art.

Origin: Japan

History:

Kosho Shorei Kempo was created by several happenings, spanning a
period of centuries. According to Mitose Sensei, during the invasion
of Genghis Khan, the Head Monk of the Shaolin Temple fled China and
found refuge with the Mitose family. In appreciation for the kindness
of the Mitose's, he taught them Shaolin Chuan Fa (Shorinji Kempo in
Japanese). From James Mitose's book:

"Fifteen hundred years ago, the ancestor (of the Author) was a Shinto
priest. He studied and taught many different martial arts including
sword fighting, lance fighting, fighting with the bow and arrow,
fighting on horseback, and swim fighting. Some arts looked like Kempo,
Karate, Gongfu, and Ju-jitsu- but they were different in many ways.
He mastered all of these arts and became Grand Master. Then Grand
Master Mitose founded a martial arts school and called his style
Mitose's Martial Art School."

In 1235 a Shinto priest whom James Mitose called his first ancestor
became enlightened to what we call Kempo. According to Mitose, this
man was a martial arts master and a Buddhist monk studying at Shaka-In
who found it difficult to be both. His religion taught him pacifism;
his martial art taught him destruction. He pondered this dilemma under
an old pine tree meaning Kosho in Japanese. He became enlightened and
was from then on known as, Kosho Bosatsu, the Old Pine Tree
Enlightened One. He discovered the relationship between man and Nature
and also the secret of the Escaping Arts which is what makes Kempo a
True and Pure Kempo or study of all Natural Law through a Martial Arts
medium. Then "the Grand Master founded the Kosho Shorei Temple of
Peace, True Self Defense and Kosho Shorei Yoga School. At that time,
he made up the Coat of Arms and the Motto for his Temple. In his
Temple, he taught how to escape from being harmed by using the
escaping patterns, with God's help."

Only 2 people in the world learned the Escaping Arts from Mitose
Sensei and one of these two learned all the facets of Kosho, namely
its 22 Generation Grandmaster Bruce Juchnik. The highest goal is to
defend oneself without body contact unlike Okinawan/Japanese Karate
systems or many other Ken/mpo systems.

Kosho Ryu influences can be seen in Ed Parker and his creation
American Kenpo. He added many labels to concepts inherent in Kosho
that had Japanese names or no labels at all.

References: "What Is Self Defense" 1953 James M. Mitose
"What Is True Self Defense" 1981 James M. Mitose


16.22) Kempo (Ryukyu)

(Contributor: Al Wilson - ***@drunivac.drew.edu)

Intro:

Ryukyu Kempo (which roughly translates into Okinawan kung-fu, or
Chinese boxing science) is the original style of martial arts learned
and taught by Gichin Funakoshi on the island of Okinawa (1). It
stresses the existence of body points within your opponent that can be
struck or grappled for more effective fighting.

Origin: Okinawa Islands (Ryukyu island chain).

History:

Practioners of Ryukyu Kempo believe that karate-do is a popular
subform of Kempo, established within this century by Gichin Funakoshi.
People with original copies of Funakoshi's first edition book _Ryukyu
Kempo_ state that he is clearly is grappling and touching an opponent.
Later editions and current karate books only show a practioner with a
retracted punch, where the original shows actively grappling an enemy.
It is felt that Funakoshi was the last of the purists, wanting all to
learn the art.

In subseqent years, the Okinawans, who have a culture and history of
their own, became disenchanted with the Japanese, and were less
inclined to teach them the "secret techniques" of self defence. When
American military men occupied Japan after WWII, they became enamored
of the martial-arts. It is theorized that the Japanese and Okinawans
were reluctant to teach the secrets of their national art to the
occupiers, and so taught a "watered down" version of karate-do usually
reserved for children. Contemporary Kempo practioners practice
"pressure point fighting" or Kyushu-jitsu and grappling, called Tuite.
It is an exact art of striking small targets on the body, such as
nerve centers, and grappling body points in manners similar to Jujitsu
or Aikido(2).

Modern teachers of this are George Dillman of Reading, PA, Taiku Oyata
of Independence, Missouri, Rick Clark of Terre Haute, Indiana, and
others.

Training:

The practioners of kempo believe that kata do not represent origin or
direction of attacks but positional techniques for the defender.
Concentration is made on physical perfection of kata and the Bunkai,
or explanation of the movements. Tournaments of kata and kumite
(sparriing) are encouraged as learning experiences, but not overly
stressed. Also taught is Kobudo, which is defined as weapons fighting
using ordinary hand tools.

Five principles to be observed in Oyata's school:
1. Proper distance.
2. Eye contact.
3. Minimum pain inflication on your opponent.
4. Legally safe.
5. Morally defensible.(3)

There are a couple of physical differences in Kempo and many other
styles. One is a three-quarter punch, rather than a full twist.
Second is a fist whereby the thumb stops at the first finger, rather
than the first two fingers. Third is the sword hand, which has the
little finger placed as parallel as possible to the third finger and
the thumb straight and on the inside rather than bent.(2)

References:
(1) _Karate-Do: My Way of Life_ by Gichin Funakoshi
(2) _Kyusho Jitsu: The Dillman Method of Pressure Point Fighting_
by George A. Dillman with Chris Thomas.
(3) _Ryukyu Kempo: History and Basics_ by J. D. Logue (Oyata
student).

Sub-Styles:


16.23) Kobudo

(Contributors: Steve Gombosi - ***@craycos.com,
John Simutis - ***@ingres.com)

Intro:

"Kobudo" literally means "ancient martial ways". In the karate world,
it generally refers to those traditional Okinawan weapons whose
history and practice has been linked to that of karate.

Origin: Okinawa

Description:

Most Okinawan styles have at least some kobudo/kobujutsu curriculum.
In addition, there are at least two major Okinawan organizations whose
primary focus is these weapons arts: the Ryukyu Kobudo Hozon
Shinko-kai and the Okinawa Kobudo Renmei. In the US there is 'Okinawa
Kobudo Association, USA'; the shihan in the US is in Citrus Heights,
CA. There may be other US Kobudo organizations.

The most common kobudo weapons (and the ones most often taught by
Okinawan karate systems) are:

bo - staff, usually a rokushakubo or "six foot staff", although 4, 9,
and 12 foot staffs are also used.
sai - three-tined iron clubs, usually carried as a set of 3.
nunchaku - two short tapered wooden clubs, connected at the narrow
ends by a short rope or chain (a flail, as well as other uses).
kama - a sickle, used singly or in pairs;
tuifa/tonfa - a club with a hand-length perpendicular handle, the
ancestor to the police PR-24; usually used in pairs.

Less common weapons are:

koa - a hoe.
eku - a boat oar.
tekko - essentially brass knuckles.
shuchu - a small kubotan-like thing about 5" long.
san-setsu-kon - the 3-section staff.
surujin/suruchen - a weighted chain with a spike or blade on one end -
similar to the Chinese chain whip or the Japanese manrikigusari;
tinbe - actually, this is two weapons...the tinbe itself, which is a
small shield traditionally made of the shell of a sea tortoise, and
the rochin, which is a short spear with a cutting blade - the weapon
actually resembles a Zulu spear more than anything else.
kusarikama - a kama on the end of a rope or chain.
nunti - a short spear.

and a few other oddball implements of mayhem including spears and the
occasional pilfered Japanese sword ;-).


16.24) Krav Maga

(Contributor: Peter Muldoon - ***@bway.net)

Intro: The Israeli official Martial Art

Origin: Israel

History:

The Krav Maga was developed in Israel in the early forties when the
underground liberation organizations were fighting for the
independence of the State of Israel. At that time, it was illegal to
possess weapons. The inventor and developer of the Krav Maga was a
champion heavy weight boxer, a judo champion, and an expert in
jiu-jutsu. In addition, he was as a trapeze acrobat and a well known
dancer. The knowledge he thus obtained, contributed to the
development of the Israeli martial art of self defense. There is no
hidden meaning behind the name Krav Maga, and literarily means
"contact fight / battle".

The Krav Maga was put into practice originally by the fighters of the
liberation organizations that often went to battle armed with knives
or sticks and with the knowledge of Krav Maga, and they were very
successful. After the establishment of the State of Israel, Krav Maga
was adopted as the official martial art taught in the defense forces,
and especially in the elite police and army units. Krav Maga was
integrated into army training by Imi Lichenfield, a career IDF officer
and chief instructor at the armys physical training facility at the
Wingate Institute. Imi is still active involved in the Krav Maga
Association and maintains the role of president.

Over the years, the Krav Maga has turned into an integrated part of
training in many disciplines such as educational institutes. Krav
Maga is taught in many public schools in Isreal.

Description:

The Krav Maga is not an ecletic martial art system, rather, it was
developed with the perception that the classic martial arts were
lacking various elements. The defense needs in the eras that the
classic martial arts were developed were different than those of
today. New unique techniques for defense against pistols, guns and
hand grenades were considered needed, and therefore developed.

Krav Maga has no katas or specific sequences that must be followed.
Students use the basic moves in conjunction with any one of a number
of other moves to fend off an attack, the key idea being adaptability
to new situations through improvisation. Emphasis is put on speed,
endurance, strength, accuracy and co-ordination especially for

intensive Krav Maga training.

Training:

Since the Krav Maga by definition is for self defense, it does not
have any constitution and judicial rules and therefore there are no
contests and exhibitions. The training is for practical usage in the
every day reality. There is a colored belt system with a Black Belt
typically granted after 8 to 10 years of practice. Spiritual and
philosophical aspects are studied only at the Black Belt level.

Get information from this website:
http://www.bway.net/~muldoon/km.html and/or write to:

Krav Maga Academy
57 West 84 st.
New york, NY 10024
[phone]

Another website:
Brazilian Association of Krav Maga: http://www.kravmaga.com.br

Sub-Styles: None.


16.25) Kyudo

(Contributor: E.Clay Buchanan - ***@microfocus.com)

Intro: Japanese target archery practiced as a martial art.

Origin: Japan.

History:

Kyudo, the Way of the Bow, is the oldest of Japan's traditional
martial arts. The bow has been used in Japan since prehistoric times.
From the fourth to the ninth century, close contacts between China
and Japan had a great influence on Japanese archery, especially the
Confucian belief that through a person's archery their true characters
could be determined. Over hundreds of years archery was influenced by
the Shinto and Zen Buddhist religions along with the pressing
practical requirements of warriors. Court nobles concentrated on
ceremonial archery while the warrior class emphasized kyujutsu, the
martial technique of using the bow in actual warfare.

With the introduction of firearms the bow as a weapon was neglected
and almost died out all together until Honda Toshizane, a kyudo
instructor at Tokyo Imperial University, combined elements of the
warrior style and the court ceremonial style into a hybrid style which
ultimately became known as the Honda Ryu (Honda martial school). This
style found great favor with the general public and he is generally
credited with saving Japanese Archery from oblivion. With the
American occupation banning all martial art instruction, traditional
kyujutsu schools declined further and when the ban was lifted, Kyudo,
as opposed to kyujutsu, became widely practiced and the Zen Nihon
Kyudo Federation (All Japan Kyudo Federation) was established in 1953,
publishing the standard kyudo textbook called the Kyohon, and
overseeing Kyudo development both in Japan and internationally up to
the present time. There now exists a European Kyudo Federation which
has annual seminars and promotion tests and in 1993 the first such
seminar and promotion test was held in America in San Jose,
California.

Description:

Kyudo is a highly meditative martial art whose ultimate goals are Shin
(Truth i.e. the ultimate reality), Zen (Goodness) and Bi (Beauty).
When asked the question "What is Truth?" a master archer would pick up
a bow and arrow and shoot it, without saying a word, allowing the
level of mastery of the bow to serve as the gauge of the archer's
progress along the "way" thereby showing the archer's knowledge of
reality i.e. "Truth" itself.

By such diligent practice Confucian theory teaches that the archer
will become morally good (Zen), and this sincerity of personality will
excite the aesthetic sense of anyone watching at an intuitive,
emotional level giving the performance a beauty derived not only from
the technical skill of the archer but also from the archer's emotional
maturity and spiritual sincerity.

Training:

Students typically begin by practicing visualization: performing the
shooting motions with no equipment and then perhaps using the gomuyumi
(rubber bow), a short stick with a length of rubber tube attached, to
acquire the feel of real bow resistance. The first actual shots are
fired into a straw bundle, called a makiwara, from a short distance of
about three feet. The student then progresses to target shooting at a
fixed regulation distance of 28 meters.

All students, no matter which instructor or school, will shoot the
same design of Japanese bow which is little changed from the twelfth
century. Traditionally made of hardwoods laminated front and back with
bamboo the Japanese bow is one of the longest in the world, usually
over seven feet in length. It is a natural double recurve bow with the
arrow nocked one third of the way from the bottom and the bow actually
rotating in the hand at release approx. 270 degrees. The unique
design of the bow requires that the bow actually be torqued or twisted
in full draw to make the arrow fly straight.

Sub-styles:

Technically, styles can be divided into two broad categories, shamen
uchiokoshi and shomen uchiokoshi, the modern shomen uchiokoshi style
having been developed by Honda Toshizane. Shamen archers predraw the
bow at an angle to the body and fix their grip on the bow before
raising it. Shomen archers raise the bow straight over the head and
fix their final grip on the bow in a predraw above the head.

There were dozens of traditional schools before World War II and many
of them survive today provoking endless debate as to the superiority
of one over the other. In fact, some traditional schools still do not
use the word kyudo preferring the word kyujutsu instead to describe
their teachings. Some styles heavily emphasize the spiritual aspect of
shooting and some proponents of Zen Archery view kyudo as a way to
further their own spiritual development in Zen Buddhism.

=====================================================================
Disclaimer and Copyright Notice

Some answers given may reflect personal biases of the author and the
martial arts FAQ listing's contributors. The answers contained herein
pertain to discussions on the rec.martial-arts group, and are by no
means exhaustive.

The martial arts FAQ list owes its existence to the contributors on
the net, and as such it belongs to the readers of rec.martial-arts.
Copies may be made freely, as long as they are distributed at no
charge, and the disclaimer and the copyright notice are included.

[Matthew Weigel]

Archive-name: martial-arts/newbie-guide
Last-Modified: 28 July 2003

Martial Arts Newbie Guide
Version 2.0
Kirk Lawson

------------------------------

Subject: 1 - Table of Contents

1 - Table of Contents
2 - Introduction
3 - How To Look
4 - Where To Look
5 - How Much
6 - What To Look For
7 - What Not To Look For
8 - Rank
9 - When You Visit
10 - Should I Study More Than One at a Time
11 - The Dark Side of Martial Arts
12 - What Kind of Martial Art Suits Me
13 - Disclaimer and Copyright Notice

------------------------------

Subject: 2 - Introduction

So you want to be the next Bruce Lee, Jet Li, Helio Gracie, Chuck Norris,
or Master Pan. Congratulations and welcome to the wide world of Martial
Arts. You may be wondering what comes next. Where do you go, what do you
do, and are you going to have a dragon branded onto your forearm as you
lift a red hot brazier to exit the hidden monastery? The Purpose of this
document is to answer a few questions, give you an overview and maybe point
you in the right direction. It is intended as a companion documente for
the rec.martial-arts FAQ. Many of the topics in the Newbie Guide are
covered more in depth in the body of the rec.martial-arts FAQ proper but
we'll touch on them here in an abbreviated form.

------------------------------

Subject: 3 - How To Look

One of the questions asked ad nauseam is, "What is the best art?" or
sometimes its modified form, "I wanna kick butt and don't want fancy-schmancy
stuff, what art should I choose?" Well, the answer is, "We don't know."
There's much debate over what exactly is the "best art" or what is an
"effective art." It comes down to a lot of questions such as, "Best for
what?" and "Best for you or best for me?" In the end, it's a question
you're going to have to answer for yourself through personal exploration
and hard work. Since you're looking for a Martial Art to start, you should
look for the ones that are available to you. Simply put; it doesn't matter
if it's the ultimate kick-butt art, if you can't find a school near enough
to take classes at. With that thought in mind, you should look to see what
schools are available in your area and make your selection from those. If
you are looking for a specific art, you are still restricted to what's in
your area, so go ahead and look anyway.

------------------------------

Subject: 4 - Where To Look

OK, so we've established that you should look at the schools in your area.
All well and good, but how do you _find_ what schools are in your area?
Here are a number of recommendations.

- Recommendation of Friends - Ask your friends and associates. You might
be surprised how many people you work with or shop with are martial artists
themselves or know of reputable schools, particularly hard to find "Garage
Dojos" (see the FAQ).

- Bulletin Boards at MA supply stores - It goes without saying that a local
martial arts supply store would be a good central location, a gathering
spot, for local martial artists. They have to get their equipment from
_somewhere_. Look at the bulletin boards in these supply stores. Don't
rule out general athletic supply stores.

- Bulletin Boards at Asian bookstores - Since many martial arts are Asian in
origin, many martial artists have an interest in Asian culture and books
(particularly books about martial arts).

- Bulletin Boards at Super Markets & the like - Many "Super Stores" such as
Wal-Mart and Meijers have bulletin boards specifically for advertising
within the local community. These advertisements include bicycles for
sale, free puppies, and... martial arts studios.

- Bulletin Boards at Oriental Restaurants - Again, because many martial arts
are Asian in origin, many martial artists embrace Asian culture, including
Asian Cuisine. More then that, it seems a likely place to put up fliers
for martial arts studious looking for a place to put up said fliers. As
has been noted elsewhere, just because people working in these restaurants
are Asian, do not expect them to know anything about martial arts; some may
take offense at these sort of stereotypes.

- Local Colleges - Many colleges have martial arts clubs on campus. Judo is
particularly well known on college campuses, but, by no means, has a lock
on it. Some colleges even offer martial arts course for College Credit as
part of their Physical education curriculum.

- The 'Y', Civic Centers, and Community Centers - The YMCA/YWCA are havens for
martial arts schools. Included in the mix are Civic Centers, including
religious based Community Centers, Park & Rec. programs and Police Athletic
Leagues.

- Classified Adds, free newspaper adds - Another source is in the Classified
Adds of your local news paper or in the classifieds of various "free"
newspapers, typically available in bookstores and groceries.

- Welcome Wagon Baskets - Many martial arts studios will include special
promotions in Welcome Wagon baskets to new members of the community. These
promotions often include free classes, reduced rates, or free uniforms.

- Cultural Heritage Festivals - One of the common misconceptions is that all
martial arts are Asian in origin. Though many of the most well known are,
there are an amazing number that are Occidental (Western) or otherwise
non-Asian. Cultural Heritage Festivals often include a demonstration of
fighting arts from that proud culture, such as the Shillelagh from Ireland
or Gatka from India.

- Cultural Heritage Centers - The people there may know of schools, and in
some cases, might actually be holding classes of some kind in the facility.

- Renaissance and Western History Festivals or Clubs - Many Western Martial
arts such as Renaissance Combat Wrestling, Broadsword, Rapier, Bare Knuckle
Boxing, or Quarterstaff are often taught in clubs celebrating Western
Heritage or associated with such clubs. One example is The Association for
Renaissance Martial Arts (formerly Historical Armed Combat Association)
<http://www.thehaca.com>. The Society for Creative Anachronism
<http://www.sca.org> teaches some of these, typically in a "safe" "sport"
form but the local chapter can be a good place to start or they may be able
to direct you toward a school or instructor that can meet your needs.

- In the park - You might see an individual, or a group, practicing in your
local park. Even if you don't see any martial artists, if you chat to
folks, you might find someone who comes to the park frequently and has seen
a group that does practice there regularly.

- Local corporations - Many companies, especially larger ones, sponsor or
publicize employee group activities. These are not necessarily restricted
to employees of the company.

- Road Signs and Posted Advertisements - Most martial arts studios will put
up advertisements and fliers on telephone poles or at Mall entrances. They
will also often put up "directions" signs pointing towards their school
from major roads.

- Yellow Pages under "Martial Arts" or "Karate" - As always, the Yellow Pages
has a section for those willing to pay for advertising their phone number.

------------------------------

Subject: 5 - How Much

So how much is all this training going to cost? The short answer is: it
depends. Schools are free to charge whatever they want for their
instruction. How much they charge is a function of how much they think
their instruction is worth, how expensive goods and services are in that
area, and what their expenses are. Small "Garage Dojos" with little
overhead have been known to charge as little as $20 a month per student,
while instruction at other studios in comparatively expensive cities (such
as New York) could cost hundreds of dollars per month. The issue is
further complicated by bringing in differences in national location. In
other words, what is reasonable for a big city in Germany is not
necessarily equal to what would be reasonable in a big U.S. city. Thus, it
is not really possible to accurately predict how much you will be expected
to pay at any give school in any given location. However, currently it is
not seen as unreasonable for schools to charge between $40 and
$75 a month. In some rare cases, instructors will not charge at all. This is
often true for groups that meet in the park, such as some taiji (Tai Chi)
groups. Further, it should be noted that the PRICE of the instruction is not
always a good indicator of the QUALITY of the instruction. More on this in
"What Not To Look For."

Doubtless, you have noted that I've been speaking of monthly charges. This
is the most common way to pay: month by month. However, there are other
options with most schools. Often you may receive a discount for paying
ahead in 3, 6, or 12 month blocks. Some schools offer contracts.

A short discussion of contracts is warranted. Many martial artists are
wary of school contracts. Contracts have been known to be used by scam
artists in the past or, occasionally by legitimate martial artists who will
"stick it to you," enforcing payment terms of the contract should you wish
to be "out" of it for whatever reason. However, there are many legitimate
uses of contracts by martial arts schools. They can reduce costs for the
instructor and free him from tedious billing issues that can distract him
from teaching martial arts. Don't let the option of a contract dissuade
you from any particular school but be wary of schools that _require_ a
contract (and will not give you a month-to-month option) or contracts that
guarantee "black belt" within a given time frame.

You should note that training fees may not be the only fees associated with
your martial arts selection. Other fees often include fees for rank
testing. How much you pay for rank testing varies from art to art and from
school to school. Usually, earlier ranks are less expensive and more
advanced ranks are more expensive. You might be asked to pay $15 for your
first test and work your way up to $100 or more for your "black belt" test.
Some schools charge you the testing fee regardless of whether or not you
pass your test while others only charge you the fee if you actually pass.

Another "hidden cost" often seen in the martial arts is that of equipment.
Some martial arts require you to purchase a uniform (often the "white
pajamas" Gi). Inexpensive uniforms for striking arts such as karate can be
had for $20, heavier-weight uniforms for grappling arts such as judo start at
$50. Prices for the divided skirt and top used for some other arts such as
kendo start at around $100. Advanced students can pay as much as $200 for a
high-quality judo uniform, $400 for a high-quality kendo uniform. Your
instructor should be able to help you find an appropriate uniform or point you
to where you can buy one. But your equipment costs may not end there. You may
be required to purchase safety equipment such as sparring gloves, shin pads,
and head gear, or you may be required to purchase various "weapons" used
during practice such as staffs, swords, or knifes (usually a training "safety"
variety). Take heart though. Most schools have "loaners" available until you
can purchase your own.

You may also be required to join an organization and pay membership fees.
These are typically an umbrella organization that certifies the instructor
in their martial art. They can point you to affiliated schools that will
recognize your hard won rank and continue your training should you be
forced to move or be traveling abroad. These membership fees or dues are
typically on the order of $20 - $50 a year. Some organizations have a
lifetime membership program (or are lifetime memberships by default),
others are variations or only require yearly dues for "black belt" rank and
above. Your instructor will be able to tell you the details of his
organization, should he be a member of one. Be sure to ask about parent
organization dues before you join a martial arts school.

OK, so now you're paying all this money for training, equipment costs,
dues, testing fees, and the like... how do you know you're not getting
ripped off? Well, like everything else, shop around. Find out what other
schools are charging for these goods and services. Some "red flags"
include schools that require you to buy only their branded uniforms and
gear, require you to sign long contracts, have no "move refund" option in
their contract, or high-pressure sales pitches. If it feels like you're
buying a used car and the salesman insists you sign the contract now, smile
politely and head for the door.

------------------------------

Subject: 6 - What To Look For

So what are some of the things you should look for or ask about when
visiting a school? Number one, ask about the class schedule. If classes
only meet when you can't attend, it crosses the school off for you.

Another thing to look for is who is teaching the classes. Often, the
person teaching your class won't be the head instructor. Frequently the
head instructor will have some of his advanced students teaching classes.
This is particularly true if the school you choose has separate classes for
lower ranked and higher ranked students or if they have a "new student"
class. Don't let this dissuade you. Often instructors teaching "new
students" are doing so because they have shown an aptitude for helping new
students learn the basics of an art, perhaps even beyond that of the head
instructor. The ability to _teach_ a physical skill is often dissociated
to some degree from the ability to actually perform that skill at high
levels. Most professional boxers could whip the tar out of their coaches
even though their coaches know how to box. While on the topic, find out if
there is an "introductory" or "getting started" class or course. This can
be a good way to get up to speed quickly with the basics of an art or to
"sample" that school.

While visiting a school, spend some time talking to the students before or
after class. Talk to both high and low ranking students, they'll have
different perspectives. Spend some time understanding the atmosphere of
the school, it will take more then one brief visit. Some are strict
disciplinarian and some are easy camaraderie. Again, don't assume that the
instructor that runs his school like a drill sergeant produces kick-butt
martial artists while a more easy going school is lax or lackadaisical. They
are simply different teaching styles and one may be more appropriate to
your needs then the other.

Another thing to take note of is injuries. Let's face it, martial arts are
inherently dangerous. They are _martial_ and no matter how safe you train
or what safety equipment is used, there is a risk. There are bound to be
some injuries. However, the nature and frequency of the injuries are what
you should consider. A black eye is far different from an injured joint
and if broken bones occur frequently, that may indicate a problem. You
can't train while recovering from some injuries. Some injuries are
permanent and will affect you the rest of your life.

Finally, though uncommon, some schools have an "enrollment period." They
operate like college classes in that you can only join at certain times of
the month or year.

------------------------------

Subject: 7 - What Not To Look For

Some years ago a movie came out: They Call Me Bruce! In this comedy, an
Asian man made his way through a number of people who thought he was a
great martial arts Master simply because he was Asian, triumphing in the
end. The moral is clear and directly applicable. Do not assume that
because the instructor of a given school is Asian that he is, in some way,
superior to the instructor of another school who is not. Skill in martial
arts is not inherent to any given "race." Likewise, do not make the same
mistake concerning the sex of an instructor. There are many very talented
female instructors.

Don't let yourself be distracted by a fancy school or unrelated goodies
such as weight machines or saunas. A well kept, safe training area is one
thing but extraneous features, though nice, ultimately only add to the
expenses of the school. There are a good number of excellent instructors
teaching out of their garages, basements, and back yards.

Don't get distracted by uniforms either. Many Asian martial arts wear the
traditional "white pajamas" gi while other martial arts have different
uniforms and some, no uniform at all, preferring instead "street clothes" or
comfortable, loose fitting training clothes.

Also, don't pay too much attention to numerous trophies and medals.
Trophies are easy to come by in martial arts competitions. On top of that
they are inexpensive and easily purchased by unscrupulous scam artists from
the local trophy store. Though this practice is uncommon, it has been
known to happen.

Don't judge a school or instructor by how much they charge. It's human
nature to assume that a higher priced product is going to be somehow
better, yet this is not always true in the world of Martial Arts. Some
instructors are simply teaching for the joy of teaching and not trying to
make a living or any real money from it (more on this in the
rec.martial-arts FAQ). Some arts and Organizations discourage their
instructors from trying to make money from instruction and will therefore be
inherently less expensive. Yet other arts are the flavor du jour and suffer
from higher demand than there are available instructors, thus making them more
expensive. As long as the price of instruction falls within the range that
you are willing to pay, don't worry too much about it.

Further, don't pay too much attention to lots of certificates in Asian
script decorating the wall, particularly if you don't read the language
they're written in. Most instructors will display only the rank
certificate of their top rank (or the top rank they hold in each art
they're ranked in if they are ranked in more then one). In general, this
should mean that there aren't many certificates displayed. With the state
of current computer technology, it is easy to produce impressive looking
certificates that say anything you wish them to say, even that the bearer
is a high ranking martial artist.

Finally, don't be overly concerned with the rank of the instructor. While
in the early stages of training in your new art (say the first 10 years)
you probably won't be able to tell the difference between a 3rd Degree
Black Belt and a 9th Degree Black Belt.

------------------------------

Subject: 8 - Rank

One of the most misunderstood things about martial arts is rank. Different
people in the martial arts world have different feelings about the use of
ranking in the martial arts. Some feel it is all important, some that it
is of no import whatsoever, and others that it is a valuable tool not to be
given too much weight outside of its limited context. What you should know
is that most martial arts have a ranking system but many do not and that
rank within one system does not equate to skill within another system even
though the systems may be similar. Just because you know how to drive a
car doesn't mean you know how to operate a back hoe.

The most common ranking systems are the Japanese and the Korean systems.

The Japanese systems start with sub-"Black Belt" or Kyu ranks and work from
highest to lowest as skill increases, typically from 10th Kyu up to 1st Kyu
and then "Black Belt" or Dan rankings, from 1st Dan and going up to 9th
Dan. 9th Dan is typically reserved for the (one) highest ranking
instructor of the art, usually in Japan.

The Korean system works much the same way, simply substitute "Gup" for
"Kyu."

You should also know that some Occidental systems have a rank system, but,
when they do, they usually do not follow the 10th-1st sub-black belt then
1st Dan-9th Dan ranking that Asian systems do. Frequently Occidental
systems will rank a practitioner by number of wins in competition or a
combination of skill level rankings and competition wins. Savate schools
will typically operate in this manner. Other Occidental arts use an
archaic ranking system that includes 4 or 5 ranks starting with "Scolaire"
(Scholar) and culminating with "Maestro" (Master).

Be aware that the color of a belt as a rank in one system does not
translate to the same rank in another system. A "Green Belt" in one system
is usually not the same rank as a "Green Belt" in another system. The same
goes for Kyu/Gup ranks. As stated earlier, a Kyu/Gup rank in one system
does not equate to the same skill as an equally numbered Kyu/Gup rank in
another system. Simply put, you can not compare a 5th Kyu in "Karate" with
a 5th Gup in "Taekwondo" and they probably wear different colored belts.
At this point, it should go without saying that a "Black Belt" in one
system isn't really comparable with a "Black Belt" in any other system. It
only represents a certain level of skill obtained within _that_ system;
exactly what skill level that represents is entirely up to the instructors
who define _that_ system.

Again, don't be overly concerned with the rank of the instructor. You
likely will be unable to differentiate between a 3rd Degree Black Belt and
a 9th Degree Black Belt for many years. Further, it is held by many in the
martial arts world that you can learn a lesson from anyone, even the
lowliest practitioner. Learn the lessons that the instructor has to offer.

A final word of warning on the rank of the instructor. Beware claims of
inflated or high rank. It is not unheard of for a martial artist to break
away from his parent organization or instructor and award himself "9th Dan"
and "create" his own art. More then one instructor has made the leap for
3rd Dan to 9th Dan in this way with no real increase in his skill or
teaching ability. Further, some organizations have been known to grant
additional rank to instructors for "services to the art" such as opening a
school in an area previously unreached by that art or for some other notable
promotion of the art.

Beware any school where the instructor seems uneasy about you talking to
the students without the instructor standing right there. It's also not a
good sign if the instructor seems nervous, self-conscious, or hostile,
about you watching him/her teach, or if the students themselves seem
fearful or nervous around the instructor. Caveat emptor.

Finally, the natural question asked is, "How fast?" ...How soon will you
get your coveted Black Belt? How long before you can "defend" yourself?
How much time before you can kill everyone in your neighborhood without
breaking a sweat?

...We don't know...

Or rather, to be more precise, it depends. Each statement is a different
goal, though they all seem to be related. Again, a "Black Belt" means
different things to different martial arts systems. To some it means
"you've got the basics and are now ready for a little bit of a challenge."
To others, "You are competent in the system enough to be let out without a
chaperone." To others still, "you know enough to be able to defend against
the unskilled or moderately skilled." And to others yet, "you're an
'expert' in the same way that a new trade skill grad is an 'expert' but not
the same as a 20 years experience 'expert'." Remember, "Black Belt" is only
meaningful within the context of the system you're studying. That being
said, it is not unreasonable to expect that, with modest effort, the
coveted "Black Belt" may be achieved within 4 to 7 years of practice. Many
systems track, even require minimums of training or "mat" time between
promotions. It is thought to be more meaningful to talk of the number of hours
spent "on the mat" (ie, training), than to speak of the "number of years."
Simply put, if Dick spends 2 hours a day, twice a week, training to achieve
"Black Belt", and Jane spends 4 hours a day, 5 days a week, then Dick
is going to sweat for five long years to rack up 1040 total hours of
training, but Jane will have done that by the end of her first year.

As to the issue of being able to "defend yourself," that all depends upon
the skill level of the person or persons attacking you, your skill level,
weapons involved, and a myriad of other variables. The stories of students
with one class under their belts defending themselves are true, likewise
the stories of "Black Belts" being beaten up. There are just so many
variables involved that the question is near meaningless. However, the
more diligently you train and the more time you put into your training, the
more likely that, if the unhappy time ever comes, you will be able to
successfully "defend" yourself.

------------------------------

Subject: 9 - When You Visit

Here are some general guidelines to consider when visiting the schools you
have an interest in.

First, call ahead. Make sure that visitors are welcome. Some schools are
particular about what classes visitors are allowed to watch. Advanced
classes may be "off limits" to the public as well as "private lessons." It
should be a "red flag" if the school will not allow you to watch _any_
classes before paying money though. Further, some schools feel that simply
watching a few classes can not adequately give you a feel for their art.
They may encourage you to take an "introductory" class (sometimes at no
charge).

Next, be aware that most martial arts schools have rules of etiquette.
This almost always includes not wearing shoes inside the school or in
certain areas of the school. They will often provide a rack or shelf for
shoes just outside of the "restricted" areas. Never step onto the mat in
your street shoes. This can track dirt, pebbles, gum, grease, and other
substances onto the area where people may soon be having their faces
smooshed.

Also, be aware that many schools will have beginning and ending ceremonies
that they may ask you to stand during. Some may ask you to bow whenever
crossing the threshold of the school.

When you go to observe a class or visit with the instructor, wear clean,
casual clothes.

If you've been invited to join the class for a training session, or think
it's a possibility you might be asked to join once you show up, then bring
a t-shirt, shorts, and loose sweat pants to work out in. If you have
martial arts experience in some other (or even the same) style, and the
uniforms are roughly equivalent shapes, it would probably be acceptable to
wear your uniform, however it may be considered extremely rude, or at least
confusing, to wear any belt colour other than white. Ask the instructor
about what to do on this one. It might be that your red belt is just a
pretty ornament in their school, or it might indicate that you are the
respected founder of an acknowledged style. They may loan you a white belt,
request that you wear none at all, or not care in the least.

As always, be polite. If someone offers a hand to shake, then take it. If
someone bows, return the bow; try to emulate the bow they give you. Be
quiet during the class. Don't make noise or draw unnecessary attention.
If you are visiting the school in the company of a friend, don't converse
with each other. If you must do so, keep conversation to a minimum and in
a hushed tone. The object is to not interrupt the class or distract the
students who have paid good money for their instruction.

Further, show up early, before class starts. This will give you a chance
to observe "pre-class" interactions important to understanding the
atmosphere of the school. It will also give you the opportunity to talk
with the instructor and students. Write down a list of questions you want
to ask and bring it with you. If any other questions occur to you as you
watch the class, write those down so you can remember to ask the instructor
after the class is over.

As a general rule of shopping etiquette, don't discuss the other schools
you've been to or heard about. If you must discuss other schools, be sure
to avoid derogatory remarks about them. Avoid discussing the quality of
their instruction, etc. If you are asked about any prior experience in
martial arts you might have, go ahead and tell the instructor what your
experience is. This will help him understand what you know and may give him
a base to start your training from. Avoid comparing the two arts.

Finally, don't try to impress the instructor or students with your
knowledge of martial arts or foreign languages. It usually backfires.

------------------------------

Subject: 10 - Should I Study More Than One at a Time

It is not uncommon for more then one Martial Art to interest a potential
student. The logical question is, "Can I" or "Should I study them both?"

This is a matter of some debate and opinions differ. The prevailing wisdom is
a bit of a compromise. It is generally recommended not to study more then one
art at a time or, failing that, to get a good foundation in one art before
branching out, or "cross training," in another. The feeling is that the two
arts are likely to conflict with each other. They may require differing ways
of moving your body, differing postures, differing positions, and offer
differing solutions to given situations. These differences could serve to
confuse and frustrate the new student as he endeavors to apply what he has
learned in his classes.

After you have developed a good base in one art, you can then explore other
arts without undue confusion or overlap.

There are, however, some noted exceptions to consider. You may want to
consider cross training in arts that have very little overlap, that complement
each other well, or that fill in gaps you may feel are missing.

Another consideration is the instructors. Some instructors encourage cross
training or even teach multiple arts themselves while other instructors
strongly discourage cross training and may be upset to find a student cross
training. If cross training interests you, you should talk with the
instructors of each art to see how they feel about it before you start taking
classes there. They may already have a program in place or may be able to
make recommendations.

Further, cross training, even if it is advantageous and encouraged will
usually slow your advancement in each art far more then if you were to
dedicate all of your training time to just one.

Finally, as hinted at earlier, you should consider your personal resources.
Can you afford to pay for two different classes and all the associated
fees for each? Not only money, but, more importantly, your time resource.
You will need to dedicate a certain amount of time to the practice of each
art, both in class and out, in order to see advancement. Do you have the
time to dedicate to each?

Some examples of arts simultaneously trained include Tae Kwon Do with Hapkido,
Muay Thai with Brazillian Ju Jitsu, and Boxing with Judo.

------------------------------

Subject: 11 - The Dark Side of Martial Arts

Though it is touched upon in other portions of this Guide, it's worth spending
some time looking specifically at the dark, seamy underbelly of Martial Arts.

This is the place where people take advantage of you.

McDojo's

First, let's look at the dreaded "McDojo." These are usually schools who's
sole goal is to part you from your money without ever imparting any real
Martial Arts knowledge. These can sometimes be difficult to detect since part
of the successful money-student separation is to convince the student that
useful information is, in fact, being taught while devising ever more ways to
implement the money-student separation.

This separation is often achieved by having fee after fee after fee and
required expenditures on and on and on. For instance, schools that require
you to buy only their branded uniforms and gear, require you to sign long
contracts, have no "move refund" option in their contract, or high-pressure
sales pitches. Another common tactic is to have numerous belt test
requirements and sub-ranks, all with a fee, non-refundable if the student
"flunks" his test. An example would be a school which has students ranked,
"Second Stripe, Decided, Green Belt" or similar. These schools may also
require weekend training trips.

Besides the red flags listed above, a few other's that may indicate a "McDojo"
include: Any school that promises you a Black Belt in under 3 years or
routinely produces Black Belts in 2 years. Any school which seems to have
overly young or inexperienced experts (usually "Black Belts" or "Dan ranks") -
for example a school recently made the news, noteworthy because they had just
promoted a three year old toddler to "Black Belt" and they had a five year old
child as a 2nd Dan (second degree) "Black Belt."

Scams

Another variation on the McDojo effect are Scams. The number and variety of
scams are infinite, as any grifter can tell you. However, the same grifter
will also tell you that the most effective usually seem to be variation on a
few basic themes. In the Martial Arts world, one of these themes is the "Study
at Home" scam. One reason this is such an effective scam is that it's very
similar in appearance to legitimate training aids. The scam usually takes the
guise of an advertisement promising to impart vast knowledge and unbeatable
fighting skills with the purchase of a home study system, usually consisting of
Video Tapes or DVDs. The home practitioner then "studies" these videos, takes
a test, sometimes written, sometimes by video taping himself and then mails it
back to the originator for "grading" along with a sum of money. Naturally "rank"
is issued (usually the coveted "Black Belt") as well as a lead in for
additional "training." Of course, the consumers have become somewhat more savvy
and this exact scam takes in fewer marks then it once did. Another variation of
the scam is to simply not offer the "rank by mail," which is a dead give away.
Instead, the same "be an unbeatable killer" advertising is used to sell the
video material. A third variation of this particular scam involves actual "live"
training. A seminar is offered from which the attendees are guaranteed rank
(often teaching rank) in a new and unbeatable system. These seminars are usually
short, only a couple of hours, and often attempt to make some tenuous link to
military combatives such as the Marines or the Special Forces (linking to the
"unbeatable" skill of military groups is another common "hook").

Another variation of martial arts scams are questionable training aids. These
are devices or machines which, through their use, supposedly will confer
awesome capabilities to their users. They frequently take the form of exercise
aids with vastly exaggerated claimed benefits. Occasionally these devices can
take the form of a machine or appliance which will "teach" your body to perform
some devastating "secret" technique.

The reason these scams are so successful is that they so closely mirror
legitimate training aids. Video's, books, and seminars, exercise devices, even
weekend training camps, are all tools used by legitimate martial artists to
enhance their skills and improve their understanding. The critical difference
is that the scams typically promise great gains, impressive skills, or rank
for comparatively little investment of time.

Cults

Martial Arts hold a nearly unique place in society. They are, at most basic
not related to any social, moral, or religious principles. They are merely
"martial," or "pertaining to war or combat skills." Yet, at the same time,
many are drenched in philosophy and the "mental" benefits cited range from
improved self esteem all the way through metaphysical abilities. Simply put,
mysticism in Martial Arts is not only accepted, but often EXPECTED. Coupled
with the business or organizational structure of many Martial Arts, this
produces a prime candidate for cult like organizations to spring up. All of
the required markers or precepts are easily applied. For instance, the
required attitude to "trust without question" a leader or central authority
is readily accepted behavior in many Martial Arts. Simply put, the instructor
knows what he's talking about, you should listen to what he says even if you
do not understand why. Most often this is a safety or training issue. The
experienced instructor knows that a certain way is safest or most likely to
produce results. That alone is no more proof that a certain Martial Art is a
cult than the requirement to follow orders instantly and without question is
evidence that the Army is a cult. However, it does place an instructor in a
position of power to abuse emotionally vulnerable people. Though fortunately
rare, cult like indicators have been seen including: 1) Complete emotional
dependence upon a central authority figure 2) Accepting without question
directives from a central authority figure 3) Isolation of group members and
restriction of their association to other group members exclusively, including
communal living and breaking ties with family and close friends 4) Single
minded recruitment into the group 5) Relinquishing control of personal assets
to the central authority figure. Of course, this is a short and perforce
slightly vague list. If you suspect someone may be becoming involved in a cult
of any sort, whether Martial Arts or otherwise, research the organization
thoroughly and consult a licensed mental health care professional.

Two examples of Martial Arts organizations that closely match cult profiles
are: Chung Moo Do, and Kanzen Kenpo

Sexual Predators - Pedophiles and Power Abusers

Another area of concern for many people is that of sexual abusers. This is
generally of greatest concern to parents. How can you know that the Instructor
is not a Pedophile? The Martial Arts world frequently generate exactly the
recipe needed for a Pedophile to successfully engage in his preferred
perversion: unsupervised access to children. In fact, it's gone one better.
The instructor is, by default, placed in a position of authority and trust for
the child. This danger can be doublely compounded by some standard activities
associated with Martial Arts such as weekend seminars in remote or isolated
areas and out of town, over-night, competitions. Fortunately the safe-guards
for children in the Martial Arts are the same as for any other activity.
Check the background of a potential instructor. You can check with the local
Police Department for complaints or criminal history (a wise idea whatever the
case) as well as consulting databases (many of them "on-line") listing Sexual
Predators. Ensure that the child is never alone and unsupervised. Go with
your child to his classes (be sure to sit quietly to the side; take reading
material or a quiet hobby). Many schools even have a special area where
parents can sit and watch the class. Whenever your child has an out of town or
over-night function, accompany them or have a trusted adult accompany them.
Go with your child to watch his competitions. It's an enjoyable spectator
event and will show your child that you support his interests. Finally, pay
attention to your child. Observe changes in behavior that might indicate
emotional trauma such as withdrawing from friends and family, hostility, or
depression. Listen to your child and talk with them about the dangers of the
world and what is and is not acceptable conduct from others. For further
tips and advice consult your local Police Department.

Sexual Power Abusers are not generally thought of in the context of a Martial
Arts instructor. While the idea of a Boss at a work place or a Professor at
a University being a sexual power abuser is fairly well accepted, often the
idea of applying the same context to other authority figures is overlooked.
Unfortunately some Martial Arts instructors have used their positions as an
authority figure to prey sexually on their students. This is a difficult
subject. On the one hand, most would agree that it is unethical for an
instructor to use his position to influence or compel a student into a
relationship with him. On the other hand, if a student is an adult and is
consenting, what harm? The Martial Arts world is replete with stories of
couples who met as Martial Arts instructor and student and then pursued a
romantic relationship successfully outside of the school. Further, some
students are actually attracted to the power and authority of a Martial Arts
instructor, much as some are attracted to athletes or politicians. The best
advice for adults is to be very careful and use common sense. Naturally, if
an instructor (or even a fellow student) is making unwanted advances, tell
them that you are not interested. Be polite but clear and firm. You're not
interested in pursuing a relationship beyond mutual adherents of a Martial
Art. If the unwanted advances continue, your road narrows somewhat. If the
advances are from a fellow student or Assistant Instructor, go to the Primary
Instructor and explain the situation. Ask him to help you and to talk to the
offending person. Chances are this has happened before and the instructor may
not have known about it. Regardless, most instructors are wary of law suits.
If, on the other hand, the unwelcome advances are from the Chief Instructor or
Owner then your only recourse may be to simply leave that school and seek
instruction elsewhere. You may be able to file a complaint if the school is a
member of a larger national or international organization but do not count on
this curing anything. Some organizations may take steps to chastise or even
revoke the instructor's membership, other organizations may do nothing. Unless
a crime, such as rape has occurred, the legal system will probably be little
help. Over all, your best option may simply be to seek instruction elsewhere.

------------------------------

Subject: 12 - What Kind of Martial Art Suits Me

So you still don't know quite what martial art might suit your desires
best. Won't take 'no' for an answer huh? OK. Well here are some ideas
that may help you narrow your search.

What are you looking for in a Martial Art? If you know what you want out
of it, you'll have a better idea of what "kind" of art to look for.
Typical answers include:
Better Physical Fitness
Street Useful Self Defense
Sport Competition
Striking Techniques (Punching/Kicking)
Joint Lock Techniques
Grappling Techniques (some similarities to wrestling)
Pressure Point Techniques
Traditional/Oriental Weapons
Street/Common Weapons
Mental & Emotional/Spiritual Development
Attractiveness/Fluidity of Movements (this is very subjective)
Traditional "Feel"
Speed of Advancement/Ease of Learning Techniques

Brief Descriptions of these:

Better Physical Fitness:
Some people's primary motivation in a Martial Art (MA) is improving their
Physical Fitness. To them, if they can learn a MA while getting fit, so
much the better.

Street Useful Self Defense:
A primary motivation for many is the ability to truly be able to defend
themselves in a street confrontation against typical street techniques and
weapons.

Sport Competition:
Many arts contain a greater or lesser degree of competition and some will
encourage their students to compete in local and national MA sporting
events in competition restricted to that particular MA and in various open
competitions. Awards and medals are sometimes given. Arts that emphasize
competition too much are thought by some to sacrifice some of the self
defense value to ingrained competition safeties. Arts that are well known
for their sport value include Tae Kwon Do (TKD), Judo and Kendo.

Striking Techniques:
This is more a facet of a MA and typically describes punching and kicking
techniques. Some arts emphasize this to a greater or lesser degree with
some focusing on it almost to the exclusion of all other techniques and
with some teaching nearly none of it. Arts that are well known for their
striking techniques include most Korean arts like Tang Soo Do and Tae Kwon
Do, and Okinawan/Japanese Karate.

Joint Lock Techniques:
This is more a facet of a MA and typically describes techniques that lock,
restrict, manipulate, or sometimes break and dislocate the joints of the
aggressor. Some arts emphasize this, to a greater or lesser degree, with
some focusing on it almost to the exclusion of all other techniques and
with some teaching nearly none of it. In arts that teach a variety of
other techniques, joint lock techniques are typically thought of as an
"advanced" teaching and are typically reserved for higher ranks. Arts that
are well known for their joint lock techniques include Aikido, Pencak
Silat, and Japanese Jui Jitsu (such as Aikijitsu and others).

Grappling Techniques:
This is more a facet of a MA and typically describes techniques that are
similar to wresting in many ways and include throws and groundfighting
techniques (what to do when one or more combatants are at least partially
on the ground and not standing). Some arts emphasize this to a greater or
lesser degree with some focusing on it almost to the exclusion of all other
techniques and with some teaching nearly none of it. Arts that are well
known for their Grappling/Groundfighting are Judo, Brazilian Jui Jitsu, and
some other types of Jui Jitsu.

Pressure Point Techniques:
This is more a facet of a MA and typically describes techniques that
manipulate pressure points on the human body. These "points" can in some
cases cause a great deal of pain and some practitioner say that Pressure
Point manipulation can slow down the aggressor, cause limbs to go numb,
stun or even kill an aggressor outright (though this is an extremely
advanced technique not taught to everyone and is still open to controversy
in the MA and Medical world). Some arts emphasize this to a greater or
lesser degree with some focusing on it almost to the exclusion of all other
techniques and with some teaching nearly none of it. Arts that are well
known for their Pressure Point techniques include some types of Kung Fu
(there are over 50 well know Kung Fu forms), and some types of Jui Jitsu.

Traditional/Oriental Weapons:
This is more a facet of a MA and typically describes techniques with
weapons not considered to be militarily effective, or street convenient by
today's standards. These weapons would include sword, spear, bow, and
staff. Some arts emphasize this to a greater or lesser degree with some
focusing on it almost to the exclusion of all other techniques and with
some teaching nearly none of it. Arts that are well known for their
Traditional/Oriental Weapons techniques include many forms of Kung Fu, many
Okinawan Karate forms, and some Japanese forms such as Kendo, Kenjutsu, and
Iaido.

Street/Common Weapons:
This is more a facet of a MA and typically describes techniques with
weapons considered to still be militarily effective, or street convenient
by today's standards. These weapons would include knife, club,
cane/half-staff. Some arts emphasize this to a greater or lesser degree
with some focusing on it almost to the exclusion of all other techniques
and with some teaching nearly none of it. Arts that are well known for
their Street/Common Weapons techniques include many forms of Kung Fu, many
Okinawan Karate forms, and some Japanese forms, and especially Indonesian
forms such as Pencak Silat, and Philippines forms such as Kali, Arnis, and
Escrima.

Mental & Emotional/Spiritual Development:
This is often considered a strong benefit of taking MA's. Many instructors
advertise their MA directly to parents as a way of increasing children's
Self Confidence, Socialization Skills, and Personal Well Being. Spiritual
development is a strong component of many but not all MA's. The Japanese
word "Do" (when applied to a MA) is considered to mean "way" or "path" to
Spiritual Enlightenment or personal understanding (Koreans arts ending in
"Do" have a similar meaning). In general, any Japanese art ending in Do
will have to a greater or lesser degree a Spiritual or Self Improvement
aspect, while Japanese arts ending in Jitsu are primarily concerned with
martial abilities and will have little or no concept of Spiritual
Enlightenment or Self Development, except as is important and added by the
instructor. This is largely dependent upon the instructor in any system.
Arts known for their emphasis on Spiritual Development include many forms
of Kung Fu, especially Shaolin Kung Fu, taiji and certain Japanese "Zen"
martial arts such as the Aikikai form of Aikido. (note: lots of
generalizations here)

Attractiveness/Fluidity of Movements:
This is one that's as hard to pin down as the Spiritual aspect. Suffice it
to say that some arts just look prettier than others. A master in most any
MA is going to have a fluidity and grace of movement, however that is not
always true of the students. As a gross generalization, typically,
"circular" arts will appear more fluid and graceful than "linear" arts. A
simplistic definition of circular vs. linear is that each variation tends
to have a greater emphasis on movements and techniques in its "category."
Thus circular arts will tend to have a lot of sweeping circular and rounded
movements, while linear arts will tend to move in more direct lines. Also
as a gross oversimplification, linear arts tend to be "hard" (direct and
force/impact oriented) while circular arts tend to be much more "soft"
(redirect and control oriented). One more gross oversimplification,
circular techniques tend to be more difficult to master than linear.
Striking arts tend to be more linear and Joint Lock & Grappling arts tend
to be more circular. Examples of largely circular arts are Aikido and
certain Kung Fu forms (Baguazhang / Pa Kua Chang). Examples of largely
linear arts include Tae Kwon Do and Karate. An example of a very exciting
and fluid art is Chinese Wu Shu.

Traditional "Feel":
This describes the feel of the "weight of tradition" that is attractive to
some Martial Artists. Some MA players like to feel like they are
participating in a tradition thousands of years old and readily accept
ancillary aspects of MA study such as bowing and foreign terminology. Most
MA's have an aspect of "tradition" to them, especially the Asian arts
(i.e., Chinese, Korean, Okinawan, Japanese) and almost all MA's have a code
of etiquette to follow while in the training hall. Frequently there are
rituals involved, some with religious significance, some merely as a show of
respect for the founder or the instructor. Some MA's require a uniform and
some (such as Capoeira or Pencak Silat) may not, at the instructor's
discretion. In general, how "traditional" an art feels is almost entirely
dependent upon the local instructor. Any given art has instructors who
prefer an informal environment or a more formal one. Generally, the
further back the roots of the art stretch, the more instructors there are
that will prefer a formal or semi-formal environment though this is
anything but a hard rule. Further, societal origins will tend to have an
effect on the formality of the training environment. Japanese arts for
instance tend to be more formal in nature as the Japanese society has a
long standing history of formality in the minutia whereas arts that are
American in inception (there are a few) will tend to be very informal since
the American society is a largely informal society.

Speed of Advancement/Ease of Learning Techniques:
There are really two separate issues here, though many people equate them.
A common question is "how long must I study before I know the art?" or
alternately "how long must I study before I get a Black Belt?" Whereas,
another common question is "how long must I study before I can defend
myself?" The nature of these two questions is different. Most people
equate Black Belt with having achieved Martial Arts godhood. This couldn't
be further from the truth. The actuality is, typically, Black Belt (or
First Dan) is where a student is finally gaining a base level of competency
and understanding in his art. One description that I recently read was to
think of a Black Belt as if it were a Bachelors degree from college. It is
an expert level, but not a Doctorate level, or even a Master's Degree.
Those are more typically associated with higher Dan ranks. This is an apt
description since in most reputable MA's, it should take between 3 and 5
years practice to be awarded a Black Belt. It is not unheard of for a
reputable school to produce an occasional black belt in 2 to 3 years,
however, this person is either unusually dedicated and practices on a
nearly daily basis or is a Martial Arts Prodigy. Any school that promises
you a Black Belt in under 3 years or routinely produces Black Belts in 2
years is what's sometimes referred to as a "Black Belt Factory" or a school
that "Sells Black Belts" (McDojo) and should be avoided. That being said,
the question still remains "how long must I study before I can defend
myself?" If home defense is your only goal, buy a gun and learn to safely
use it. You can become proficient in the safe use of firearms in a far shorter
time than a MA, and firearms are typically much more effective. Why do
you think the Military uses them? Or perhaps you should buy a dog.
Statistics show that less than 5% of homes that own _any_ sort of dog will
_ever_ be burglarized (this includes those hairless rat-dogs the
Chihuahua). If this is not an alternative for you or if you are also
concerned about protecting yourself where you can not, for various reasons,
take your gun or your dog, then perhaps a MA is for you. How much study it
takes for you to become effective at defending yourself is a component of
many different things, including the art its self, your aptitude at
learning it, and the abilities of the person attacking you. The stories of
Black Belts being beat up by untrained drunks are true. And also, the
stories of new students using the MA to successfully defend themselves
against rapists and murderers are also true. Whatever the case for your
aptitude, the more effort and practice you put into learning your chosen
MA, the better you will be at defending yourself and your family.

------------------------------

Subject: 13 - Disclaimer and Copyright Notice

Some answers given may reflect personal biases of the author and
contributors. The answers contained herein pertain to discussions on the
rec.martial-arts group, and are by no means exhaustive.

The martial arts Newbie Guide was created from an outline of an earlier
document, also titled "The Newbie Guide" by Jeff D. Pipkins as well as
information from the creator of this document, Kirk Lawson (additional
contributors listed at end). It is the intention that this document be a
companion document to the current rec.martial-arts FAQ. The author, Kirk
Lawson, grants rights to update, maintain, modify, and distribute this
document provided that you abide by the "no profit" restrictions detailed
hereafter.

You are specifically granted the right to distribute this document in any
storage or display format including, but not limited to, HTML, RTF, .DOC,
PDF, or direct telepathic transfer.

You are granted the right to copy, store, modify, and distribute this
document provided that a) This Disclaimer, Copyright, and any version
history or creator/contributor attributions are included. b) That you
charge no monies for the distribution of this document, excepting a nominal
charge for the cost of media upon which it may be distributed. If you wish
to include this document in any for-profit publication or to include it in
any pay-per or price metered medium or delivery, you may only do so with
the express permission of the original document author, Kirk Lawson.
Basically, if you want to modify or distribute this document for free,
fine, go ahead and do it, but if you want to make money off of it, I want
my cut.

Kirk Lawson: ***@heapy.com or ***@dayton.net

Additional Contributors:
Lauren Radner - ***@us.ibm.com
Steve Gombosi - ***@amaterasu.scd.ucar.edu
Kevin Hill - ***@jdsu.com
Matthew Weigel - [e-mail]
Ted Bennett - ***@ntlworld.com
Neil Gendzwill - ***@sedsystems.ca

[L***@tivoli.com]

Archive-name: martial-arts/faq/part4
Last-modified: 15 September 1997

Posting-Frequency: twice per month


rec.martial-arts FAQ - Part 4 of 4
==================================

Note: The sole author/maintainer of the Groaner FAQ is Lauren Radner.
Please address any replies to Lauren (***@tivoli.com).


The Groaner FAQ for Martial Arts Newsgroups (ver 1.0)
by Lauren Radner (with lots of help)

One of the primary reasons for creating the rec.martial-arts.moderated
newsgroup was to avoid "Groaner" topics... you know, the kind of
thread-from-hell that pops up over and over, with just enough
variation that you probably can't killfile it successfully.

In short, every time you see one of these come up again, you *groan*.

In these threads, nobody's mind is going to be changed, tempers will
probably flare, and the topics may even be based on assumptions that
are unprovable, insulting, or just plain wrong.

Maybe you got directed here by someone who's been around longer, and
told you something like, "Go read the Groaner FAQ, number 19".

Most of these are *not* "Frequently Asked Questions". Many of them are
more like "Frequently Made Assertions" (TKD sucks. Kata sucks. 90% of
all fights go to the ground. Gracies are invincible. etc.). Few of those
are ever raised as actual, *legitimate* *questions*. Even if they are,
they almost immediately devolve into rude and foaming assertions, or,
at least, wearisome assertions, anyway.

Many of these are off charter in rec.martial-arts.moderated for exactly
these reasons.

A "Groaner" is any of the following:

1) A question guaranteed to start a flame war or a style war, no matter
how innocently asked.

For example, "Is <style A> any good in a street fight?"

Anybody who practices <style A> will say yes. Anybody who doesn't
will say no (that's why they practice <style B> instead).

2) A question so vague that it generates no useful answers, or a flame war,
or a style war.

For example, "Which martial art is best?" averages about three posts
before devolving into a flurry of "Mine!" "No! Yours sucks! Mine's
the best!". Everybody else is wondering "Best for *what*?" and
doesn't bother to answer your question.

3) An old chestnut that people are tired of refuting or correcting. This is
the martial arts equivalent of an urban myth. These topics elicit the
same response that you have when you see "Craig Shergold Needs Your
Cards" in your e-mail inbox.

For example, "Belts have all those colours because you start out
with a white belt, and the more you work out, the dirtier it gets,
until it eventually turns black, when you're really, really good."

4) A statement about which there are strong contradicting opinions, and
nobody is EVER going to change anybody's mind. These are the religious
wars of martial arts newsgroups.

For example, "Chi(Qi,ki) does/doesn't exist", or "Kata is/isn't
useless".

5) A statement guaranteed to annoy, and impossible to prove.

For example, "Bruce Lee would have kicked Stephen Seagal's a**!",
or "<style/person> must be the best in the world because <it/he/she>
has never been defeated!"

(I would like to point out here that I am undefeated in all of Asia.
Of course, I have never fought in *any* of Asia. Which pretty much
guarantees I'm undefeated there.)


The purpose of the Groaner FAQ is to beg you, PLEASE, have the courtesy
not to start these up again. There's nothing new that can be said, and the
bandwidth and flaring tempers are intolerable. If you've read the below
and *Really* think you truly have something *New* to add, well then, sigh,
I can't stop you. But don't say I didn't warn you.

Right now, this is a "work in progress". A team of us have identified
what we consider to be "Groaners", and we're churning out answers as
best and as fast as we can, meaning, when we can stand to think about
them ourselves. At this point, only the "FINISHED" answers are appended.
You'll see the rest handled in due time, I hope. A screen-wide line of
"=====" separates each answer.

===========================================================================
F = "FINISHED"- Groaners whose answers are complete (or nearly so).
P = "PARTIAL" - Groaners that have some foundation for an answer, but
aren't finished.
N = "NOTHING" - Groaners that haven't been touched (We don't like thinking
about these either, ya know).

F - 1) My martial art is better than yours. (see "What is a martial art")
P - 2) X is/isn't effective "on the street".
N - 3) <Movie Star> is/isn't a superior martial artist.
N - 4) <Movie Star A> could/couldn't whip <Movie Star B's> ass.
F - 5) Wing Chun Roolz. (see "What is a martial art")
N - 6) Bruce Lee was the best martial artist ever, philosophically and
physically ahead of his time.
N - 7) TKD was practiced by one-celled amoebae who passed it down to
Jhoon Rhee, and is therefore the oldest martial art.
P - 8) Guns/knives do/don't make you invincible.
F - 9) A three-day course does/doesn't make you invincible.
N - 10) Gracie Brothers are/aren't invincible.
N - 11) Kata are/aren't useless.
N - 12) How do you fight an attack dog?
N - 13) TKD is/isn't a dessert topping.
F - 14) Style X is trash/wonderful because it does/doesn't include a
philosophic aspect. (see "What is a martial art")
P - 15) The belt system colours are like that because as a white belt gets
dirtier...
P - 16) Which constitutes a worse attack, gun versus knife?
P - 17) Will I get sued/jailed if I use my martial arts?
P - 18) Do sprays work, do tasers work, do whistles work?
F - 19) What's the best martial art for self-defense?
F - 20) 90% of all fights end up on the ground.
F - 21) Is a gun the best martial arts defense?
F - 22) What are the chances of an unarmed martial artist versus a
gun-wielder?
P - 23) So I'm sparring and the other guy starts to bleed, can I catch
AIDS?
===========================================================================

===========================================================================
Below answers these Groaners:

1) My martial art is better than yours. (see "What is a martial art")

5) Wing Chun Roolz. (see "What is a martial art")

14) Style X is trash/wonderful because it does/doesn't include a
philosophic aspect. (see "What is a martial art")

===========================================================================

WHAT IS A MARTIAL ART?

The term "martial art" is used in (at least) two different ways. This
can be confusing. Some dictionary definitions only make things worse.

The dictionary definition handy at the moment defines a martial art
as "Any of several Oriental arts of combat or self-defense, as karate,
judo, or tae kwon do, usually practiced as a sport."

That definition is guaranteed to offend just about everyone who reads
this group.

Typically this group uses "Martial Art" in one of two ways:

1) The first definition is a generic one, which defines a "Martial Art"
as the study of any kind of combat and/or self-defense techniques.

This definition includes non-oriental arts like boxing. This definition
includes both those arts practiced primarily as a sport, and those arts
practiced primarily for self-defense. This definition includes those
arts that emphasize only physical technique. This definition also
includes those arts that emphasize a philosophical or mental aspect in
addition to physical techniques. In its broadest usage, this definition
includes learning how to drive a tank or drop bombs out of a plane as a
Martial Art. This explains the somewhat facetious references you will
see to "Gun Fu", the martial art of learning how to use firearms
(implying, as the dictionary definition does, that a martial art must
be oriental to be legitimate).

2) The second definition is much narrower, and draws a distinction
between a "Martial *ART*" and a "Martial *WAY*". To offer a gross
simplification:

A martial *art* is the study of an art that emphasizes only physical
techniques. Perfection of technique is the primary concern.

A martial *way* emphasizes the study of both physical techniques and
a philosophical or mental aspect as well. Perfection of the self is
the primary concern.

The emphasis on this distinction is very clear for those arts that have
Japanese names.

Typically, Japanese martial *art* style names end in "jutsu", such as
"jiu-jutsu", "aiki-jiujutsu", or "ken-jutsu".

Typically Japanese martial *way* style names end in "do", such as
"ju-do", "aiki-do", or "ken-do".

A lot of bandwidth has been wasted by those arguing about whether something
is or isn't a martial art, without first establishing which definition -
including the dictionary definition - is being used.

According to the dictionary definition, boxing is *not* a martial art.
According to definitions one and two, above, boxing *is* a martial art.

According to the dictionary definition and definition one, above, karate
*is* a martial art. According to definition two, above, karate (frequently
written as karate-do) is *not* a martial art (it is a martial *way*).

In the end, it is really the attitude of the individual doing the
practicing that determines whether, for *them*, what they are learning
is a "martial art" or a "martial way". The person standing next to you
in your school may or may not be practicing with the same attitude as
you are - one of you may be treating what you learn as a "martial way",
and the other may be approaching the same material as a "martial art".

A Note About Posting Etiquette In rec.martial-arts.moderated
and rec.martial-arts
--------------------------------------------------

A word of caution.

Posting that your martial *art* is superior to another martial *art*
will always get you into trouble, since it is a breach of not only
netiquette, but the charter of this group.

You will get into trouble for the following reasons:

1) If you are proclaiming superiority because your "Art" has a
philosophical aspect that some other art lacks, you will seriously
annoy those who use the definition of "martial ART" as meaning "the
study of technique with no inherent emphasis on philosophy". You will
be forever embroiled in a semantic clash based on the differences
between definition one, and definition two, above.

2) Proclaiming superiority of one art over another involves some extremely
annoying assumptions, such as that:

a) You are fully aware of all the philosophic principles (if any) and
physical techniques and applications of the art you are condemning.

b) You are fully aware of all the philosophic principles (if any) and
curriculum intended by the founder(s)/leader(s) (if any) of the
art you are condemning.

c) You are intimately familiar with the motivations, philosophies,
skill level, abilities, method of practice, and experiences of each
and every practitioner of the art you are condemning, especially
those practitioners who may read your post (trust us, you aren't).

d) You have enough familiarity with the philosophical foundations
(if any) and physical techniques of whatever you practice, and
you exemplify these sufficiently, that you can legitimately
represent yourself as an authority of your style.

e) Your definition of "better" is somehow universally accepted as the
One True Basis For Evaluation. (Better for what? Defending oneself?
Becoming limber? Winning trophies? Subduing without injuring an
aggressor? Killing an aggressor? Meeting people? Learning Japanese?
Being lethal to music? Building self-esteem? Firing a gun with the
most accuracy?)

Posting that one art is superior to another is bad manners.

A posting which also violates any of the above is a combination of
arrogance and stupidity for which you will probably never be forgiven.

An unfortunate side-effect is that you will probably ruin your credibility
as far as any future postings on *any* martial arts topic to this group.
Except for whoever agreed with you to begin with, of course.


========================================================================
The below answers this Groaner:

15) The belt system colours are like that because as a white belt gets
dirtier...
========================================================================

What do all those different colored belts mean? Where do they come
from?

The belt system, as a formalized method of indicating rank, was
popularized by Professor Jigaro Kano, founder of Kodokan Judo, around
the beginning of this century. There are varying opinions as to
whether the practice predated Kano's use of it, and where it may have
come from, but it certainly wasn't common (the more traditional
practice in Japanese martial arts was, and is, the granting of scrolls
indicating various levels of abilities). The practice was adopted by
Karate, formerly a fairly obscure Okinawan folk art, as that art was
brought into the mainstream of Japanese martial arts. Many arts have
since adopted it -- for example, some Western schools teaching Chinese
martial arts use it, though this practice is somewhere between uncommon
and unheard of in China itself.

Some of these schemes are elaborately hierarchial; some schools
use no belt ranking system at all. White belts almost always
indicate beginners, black belts indicate those who have reached
some level of ability. There are various colors used for rankings
both below black belt, and for high ranking black belts, and various
explanations as to what they mean. The color scheme -- and the
implications for school etiquette -- vary from system to system and
perhaps from school to school.

An often heard story holds that the colours are explained as
follows: a trainee's belts, which, traditionally, were never
washed, became progressively dirtier with time (starting out white,
becoming yellow with sweat, green with grass stains, and so on),
finally changing to black over the years. This explanation, alas,
is almost certainly fanciful.

The best source of information on the meanings of belt colors
and the proper behavior with respect to rank is, as always, one's
teacher.

-------------------------------------------------------------------
That's the Tactful answer to the "Belt Colours Groaner".... here's
the not-so-tactful (and therefore, much more fun) answer, with
thanks to the ever-thorough and factual Steve Gombosi:
-------------------------------------------------------------------

From: ***@rainbow.rmii.com (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 20 Feb 1996 14:48:45 -0700

What does it take to put a stake through the heart of this one?

A bigger hammer, obviously...

Gombo? It's time for your biweekly post on this one. I do hope you just
have one version of it in a file somewhere, that you can just cut and
paste routinely for a response. If you don't, post just one more time and
I'll save it for you and do you the favour in the future. How's that?

So, you want me to chime in on the Thread That Will Not "Dye", eh?

Your wish is my command, O Redheaded One...but I'm afraid most of my
saved posts evaporated when my former employer (Cray Computer) went down
the tubes. Bill Rankin was kind enough to send the following from a couple
of years ago - I'm flattered to know he thinks my drivel is worth
saving. The original was in response to the following from Danial

Danial E. Travers writes >

In tradtional days before Jigoro invented Judo, the martial artist of
okinawa only used white belts. When the belt turned black, you were a
black belt.

Ahem. I didn't know you were on a first-name basis with Kano. Anyway,
"in the traditional days before Kano invented Judo", there *was* no
kyu/dan ranking system. Kano invented it when he awarded "shodan" to
two of his senior students (Saito and Tomita) in 1883. Even then, there
was no external differentiation between yudansha (dan ranks) and mudansha
(those who hadn't yet attained dan ranking). Kano apparently began the
custom
of having his yudansha wear black obis in 1886. These obis weren't the
belts karateka and judoka wear today - Kano hadn't invented the judogi
yet, and his students were still practicing in kimono. They were the wide
obi still worn with formal kimono. In 1907, Kano introduced the modern
gi and its modern obi, but he still only used white and black.
Karateka in Okinawa didn't use any sort of special uniform at all in the
old days. The kyu/dan ranking system, and the modern karategi (modified
judogi) were first adopted by Funakoshi in an effort to encourage
karate's acceptance by the Japanese. He awarded the first "shodan" ranks
given in karate to Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and
Kasuya on April 10, 1924. The adoption of the kyu/dan system and the
adoption of a standard uniform based on the judogi were 2 of the 4
conditions which the Dai-Nippon Butokukai required before recognizing
karate as a "real" martial art. If you look at photographs of Okinawan
karateka training in the early part of this century, you'll see that they
were training in their everyday clothes, or (!) in their underwear.

The Korean dobok is, of course, a (slightly) modified karategi. I'll be
happy to let Dakin expound on the events that led to its adoption in
Korea, since he's the author of the definitive scholarly history of
TKD and related arts (when is it gonna be *published*, Dakin???). As far
as Mike's Shuai Chiao statement is concerned, I have read other authors
who claim that the Chinese adopted the convention during the Japanese
occupation. I have a lot of respect for Mike's opinions, but I've never
seen any real evidence one way or the other. There certainly isn't any
evidence that Kano got either the belt convention or the uniform itself
from the Mainland - especially since the uniform can be traced to
traditional Japanese undergarments.

Steve

-------------------------------------------
.... and... to further clarify:

-------------------------------------------

From: ***@rmi.net (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 22 May 1996 16:12:43 GMT

One reason I heard for belts being black was that you started off as a
white belt. As you trained the belt gathered dirt and eventually after
many years became black. This was then modified in more recent times

<snip>

... The kyu/dan ranking system, and the white/black belt
distinction that goes with it, is a recent (post-1880) invention.

But your accounting does not deny that the motivation for the chosen
colors was consistant with Neil's version does it?

Well, let's examine this fable in a little more detail.

First: the rank system predates the practice uniform itself (although only
by a few years). The obi distinction is a bit later than the rank
system and a bit earlier than the modern uniform and its (modified)
obi. Kano originally had his students practice in formal kimono,
as some traditional jujutsu systems *still* do, complete with
a wide, traditional obi (really closer to a sash than the modern
"belt"). Let's just say that Kano's students were as likely to
show up with a dirty kimono and obi as you are to show up for a
job interview in a mud-caked suit.

Second: the notion that there would be a certain cachet associated with
filth in a culture as obsessed with cleanliness and ritual purity
as Japan is pretty absurd to begin with.

Third: very high ranks in Japanese and Okinawan arts are often indicated
by red and/or red&white belts. It's hard to see how this is
consistent with the idea that colors result from progressive
staining or overdyeing. To clarify: such systems tend to reserve
red obis for 9th or 10th dan. If the staining theory is correct,
why is this the case? Note that this accounts for the unease
many practitioners of such systems feel around 14 year-old TKD
red belts ;-).

Steve

========================================================================
Below answers the following Groaner:

9) A three-day course does/doesn't make you invincible.
========================================================================

Can you really learn to defend myself after only a three-day course?

Many people are so uncomfortable with the notion of being attacked that
they "freeze". Many people have been so conditioned against responding to
an attack that they simply don't feel *capable* of resisting. There are
short "self-defense" courses which seek to break these inhibitions by
confronting students with an "attacker" in a safe, supportive environment
where physical resistance is not only permitted, but strongly encouraged.
Many people have reported that such courses have been useful to them. If
you feel you're in the same boat, you may wish to investigate these
courses. Note that *none* of these courses can provide you with the sort
of conditioned, automatic response that constant repetitive training
provides, nor will they do much to increase the power or skill with which
you execute those techniques. In other words, they're not a *substitute*
for long-term training in a martial art. What they *can* do is help break
down the psychological barriers which may impede you from defending
yourself to the limit of your current knowledge and abilities.

========================================================================
Below answers the following Groaner:

19) What's the best martial art for self-defense?

========================================================================

The answer is "it depends".

Before you can answer this question (and, make no mistake about it, you
*are* the one who is going to have to answer it), you need to ask
*yourself* some other questions:

1) What do you *mean* by the term "self-defense"? What sort of situations
do you envisage that require some sort of "self-defense"? Single or
multiple opponents? Armed or unarmed? Size relative to you? Do you
expect to be grabbed, thrown, kicked, or punched? Can you speculate
on the motivations for an attack? Do you expect merely to be robbed,
or do you consider rape, maiming, or murder a possibility? These
are very unpleasant questions to think about, but they're necessary
to figure out what your *personal* definition of "self-defense" is.
Essentially, what you have to figure out is:

a) What do you consider an "attack" that requires some sort of response?
b) What sort of response do you, deep in your heart of hearts, consider
appropriate?

Note that the law where you reside may have a very different
definition from the one you have in mind.

2) Who are you? What sort of personality type are you? Are you timid
or assertive? What are your physical attributes? Note that an art
which works well for a 220lb (100kg, for those of you in *rational*
countries) 18 year-old female body-builder may prove useless for
a 70 year-old man half her size, or for a small child.

3) How much time and effort are you *really* willing to put into this?
Note that most people *drastically* overestimate this - you're probably
no exception to the rule. Almost any martial art can be used for
"self-defense" *IF* you're willing to invest the effort to become
truly proficient at it. This includes a lot of arts which don't look
too practical at first glance. A lot of martial arts practice is
repetitive, boring, painful, sweaty, exhausting WORK. How much of
that are you really prepared to endure solely for something as nebulous
as "self-defense"?

Now that we've scared you sufficiently, let's discuss some specifics.
Almost all martial arts have some "self-defense" application, but that
application may be of marginal utility to you.

For example, the art of Shindo Muso Ryu Jodo is probably hard to beat if
you have to fight a traditional Japanese swordsman while armed with only
a stick. But few people find themselves in that situation these days.
Nevertheless, such an art develops excellent timing and an instinctive
sense of distance - both of which are of great utility in defending
oneself.

More mundane, and, if you will, "practical" specialties include throwing,
punching, kicking, groundfighting, and so forth. There is endless
argument about which of these is more "street applicable", with
not much general consensus. Some are probably better for one class
of attacks, some for another.

To sum up, what you need to do is peruse the various style descriptions
in the "Martial Arts FAQ", and read the "Newbie Guide" which was written
explicitly to help you begin to look for a school that suits you, even
if you know relatively little about martial arts. Both are available at:
http://www.users.fast.net/~paiyili/faq.htm#top .

Look these FAQs over in light of the answers you've given to the questions
above. Then, see what's available in your area. If you still can't
decide, feel free to ask on rec.martial-arts.moderated (and rec.martial-
arts).

If you phrase your question carefully, you can avoid being flamed
and probably get a lot of helpful advice. In other words, *don't*
ask "What's the best martial art?", "What's the best martial art for a
street fight?", "What's the best martial art to learn self-defense?".
Instead, ask something more like, "I'm a 28-year-old female, about 5'2",
strong, but not aerobically fit. I have a two-year-old child I take with
me everywhere I go. When I go shopping, I'm always afraid that some guy
is going to try to rob or rape me in one of the parking ramps. Of course
I can't run away and leave my two-year-old, and I don't really want to
hurt anybody, just get away safely. I can devote four nights a week to
practicing *something*. Does anybody have any suggestions?

========================================================================
Below answers the following Groaner:

20) 90% of all fights end up on the ground.

========================================================================

Many people feel that ground-fighting is an important aspect to consider
in a potential attack, citing an often quoted (but never attributed)
statistic that "90% of all fights end on the ground".

This may or may not be true. It's kind of hard to tell, since the sources
for that statistic are unknown. Note that even if it is true, it may
simply mean that 90% of all fighters are incapable of punching or kicking
effectively enough to do any real damage, or that 90% of the people who get
into fights are too drunk to stay on their feet.

Having said that, if you ever *are* taken to ground, being able to fight
there is a useful skill. Note that this doesn't necessarily imply
grappling.

Note also that being on the ground can place one at a disadvantage when
dealing with multiple assailants (especially armed ones), and can make
escape or evasion rather difficult. Not to mention the condition of the
ground itself at the time (broken glass? gravel? mud? snow?).

There are frequent discussions about whether ground-fighting is, or is
not, an essential aspect of most attacks, and whether one needs to
be versed in ground-fighting tactics to be considered sufficiently
versed in self-defense techniques, in order to be prepared for an attack.
There is not, however, a lot of consensus on the answer.

========================================================================
Below answers the following Groaner:

21) Is a gun the best martial arts defense?

========================================================================

Should you get a gun?

Especially in the United States, there's a lot of concern about the
use of firearms in self-defense as well as their use by assailants.

In the martial arts newsgroups, there is considerable disagreement
about the entire topic of gun ownership and usage. Never-ending debates
are easily resurrected about whether a gun:

...is safe; will be available when needed; can be made readily
available if needed; might be taken from you and used against you;
can be brought into play fast enough against someone [unarmed/armed
with a knife/armed with a gun]; the legalities of if and when a gun
can be used; etc....

Three key questions if you are considering the purchase of a gun for
protection:

o Are you willing to put the time and effort into learning how to
use it, and maintaining those skills?

o Are you able to deal with the psychological consequences of
injuring, permanently maiming or disabling, or killing someone
as a result of you pulling the trigger?

o Are you able to deal with the possible legal consequences of
injuring, permanently maiming or disabling, or killing someone
as a result of you pulling the trigger?


If you want advice on the purchase or use of such weapons, it's probably
best to seek it in the newsgroups devoted to firearms: rec.guns, and
for the verbosely masochistic, talk.politics.guns. The NRA certifies
instructors in a well-proven basic pistol syllabus, and can probably
help you find a local gun club that offers an NRA-type course. Most gun
stores and ranges will also be able to direct you toward one, perhaps
more efficiently (note that this is neither an endorsement nor a
rejection of the NRA's political views). If you feel you must have a
gun for self-defense, at least have the good sense to learn how to own
it responsibly and use it safely.

========================================================================
Below answers the following Groaner:

22) What are the chances of an unarmed martial artist versus a gun-wielder?

========================================================================

As far as defending oneself from firearms is concerned, the best
advice is to avoid getting yourself into situations where this might
be necessary. From close range, it's certainly possible for an unarmed
person to effectively deal with a gun - but it's *very* difficult and
*very* dangerous. The odds of failure are pretty high, and the cost of
failure is death. Remember that the next time you see someone kick a gun
out of someone's hand on TV. If the assailant is out of reach, unarmed
techniques are practically useless.

========================================================================


Acknowledgements
----------------

Thanks to the following people for contributing their wisdom, prose,
suggestions, and encouragement to this guide. (The appearance of
their names here does not signify agreement with everything written
here, of course.)

Stephen Chan Steve Gombosi David Poore
Terry Chan Peter Hahn Lauren Radner
Joe Chew Michael Lawrie Bill Rankin
Doug Cohen Mary Malmros Michael Robinson
Bud Glunt Jeff Pipkins Andy Vida-Szucs

(C) Copyright 1997, Lauren B. Radner. All rights reserved.
-------------------------------------------------------------------------